A young Woman at her Toilet: 'Pride'

De l'Ange employs chiaroscuro to model the figure and fabric with sculptural intensity, drawing from Caravaggio’s dramatic lighting. The copper support allows for fine detail, particularly in the lace, embroidery, and carved mirror frame. Brushwork is precise yet fluid, capturing the texture of silk and the sheen of metal. The composition is tightly framed, focusing attention on the woman’s interaction with her reflection and the unseen observer.

The painting entered the Ashmolean Museum’s collection in the 19th century. Prior to modern attribution, it was often credited to artists like Gerrit van Honthorst or Matthias Stomer due to stylistic similarities. Research in the late 20th century reconnected it to de l'Ange through archival records and comparative analysis of his known works on copper.

In early 17th-century Flanders, moralizing genre scenes were popular, often illustrating the Seven Deadly Sins. Paintings of women at their toilets were common, but the inclusion of a demonic figure was less frequent, suggesting a more explicit theological warning. Such works catered to a growing urban elite interested in both aesthetic refinement and religious instruction.

De l'Ange’s work remains a rare example of a Flemish painter adapting Caravaggio’s naturalism to moral allegory on copper. While not widely known during his lifetime, his oeuvre has gained scholarly attention for its nuanced blending of realism and symbolism. This painting contributes to broader understanding of how Northern artists interpreted Italian innovations within local devotional and ethical frameworks.