Who painted Kneeling Woman [verso]?

Kneeling Woman [verso] was painted by Zanguidi, called Bertoia, Jacopo in 1559.

Where can I see Kneeling Woman [verso]?

Kneeling Woman [verso] is held by National Gallery of Art.

What movement is Kneeling Woman [verso]?

Kneeling Woman [verso] is associated with Renaissance.

Artwork

Kneeling Woman [verso]

Zanguidi, called Bertoia, Jacopo , 1559

Kneeling Woman [verso] is an ink drawing by the Renaissance artist Zanguidi, called Bertoia, Jacopo. It dates from 1559 and is held in the collection of the National Gallery of Art.

About this work

Overview

Kneeling Woman [verso] is a pen-and-brown‑ink drawing executed in 1559 by the Italian artist Jacopo Zanguidi, also known as Bertoia. The work consists of a single figure rendered on a light sheet of paper, its composition confined to the reverse side of a larger sheet, hence the designation ‘verso.’

Subject & Meaning

The image portrays a female figure seated on her knees, her hands joined in a gesture of supplication or contemplation. She wears a long, flowing garment and a loosely draped head covering, her head inclined slightly forward. The pose suggests a moment of private prayer or introspection, though no narrative context is provided within the drawing itself.

Technique & Style

The artist employs simple strokes to define the drapery and the figure’s posture, leaving shading minimal and the composition seemingly unfinished.

Executed with rapid, unmodulated brown ink lines, the drawing emphasizes contour and gesture over surface detail. The artist employs simple strokes to define the drapery and the figure’s posture, leaving shading minimal and the composition seemingly unfinished. This approach aligns with the practice of preparatory studies, where the primary aim is to capture the overall movement and anatomy of the subject.

History & Provenance

Created in 1559, the drawing is attributed to Jacopo Zanguidi, a painter active in the mid‑Sixteenth century who worked under the name Bertoia. The work’s provenance traces back to a collection of sketches and studies associated with Zanguidi’s workshop, though its exact ownership history prior to modern acquisition remains undocumented.