Portrait Of Giovanna Tornabuoni Domenico Ghirlandaio (1449-1494)
Domenico Ghirlandaio – Portrait Of Giovanna Tornabuoni
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Painter: Domenico Ghirlandaio
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"Portrait of Giovanna Tornabuoni," painted in 1488, was not created from life - the source material for the work was a medal with the profile of a young woman, according to existing versions made for the marriage of Giovanna della Albizzi with Lorenzo Tornabuoni. Nothing special in the history of Florentine lady is not famous, except that The wedding of the young took place with the direct participation of Lorenzo the Magnificent personally, a relative of the groom.
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Description of Domenico Ghirlandaio’s painting Portrait of Giovanna Tornabuoni
"Portrait of Giovanna Tornabuoni," painted in 1488, was not created from life - the source material for the work was a medal with the profile of a young woman, according to existing versions made for the marriage of Giovanna della Albizzi with Lorenzo Tornabuoni.
Nothing special in the history of Florentine lady is not famous, except that
The wedding of the young took place with the direct participation of Lorenzo the Magnificent personally, a relative of the groom. Celebrations were remarkable for unprecedented scope and luxury.
The author of the canvas is one of the best masters of portraiture from the Early Middle Ages from Florence Domenico Ghirlandaio. The artist worked on the board, in tempera (water-dilutable paint, the predecessor of oil paint).
In front of the viewer is one of the classic examples of Renaissance portraiture, painted in strict accordance with the laws of the genre.
The Florentine quadrocento, in the style of which the painting is executed, is expressed by particular techniques. All the canons of classical medieval painting are strictly observed. The portrait is half-length and shows the human figure in profile with his hands concentrated together. The matron’s face is calm and expressive emotions are completely absent. The costly jewelry on her chest, a brooch with precious stones worn on a silk thread, is clearly visible.
Giovanna is combed according to medieval fashion, dressed in a luxurious outfit. It should be noted that her appearance and body proportions are clearly idealized, so as not to violate the prescribed laws of style.
The composition of the portrait is as follows: near as possible and far as possible. The female figure is located closer to the viewer. Behind her, in a distant distance, is a shallow niche with several objects - a coral rosary fastened to the upper shelf, a tablet with the words of an old Roman poet carved on it, and a half-opened prayer book. The exquisite set testifies to the exquisite taste and genuine aristocratism of its owner.
The portrait is strikingly different from the familiar to modern viewers, the later works in this style. We can say with confidence that in this case, the viewer is dealing with the idealized image of a venerable lady. Her facial features are like a mask, carefully traced according to the existing rules. It is doubtful that in life Giovanna really had such an unnaturally elongated neck.
The original is kept in Spain, in the Thyssen-Bornemisza Museum in Madrid.
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Here we see an individual of evident status; her attire speaks volumes about her position within society. The elaborate gown, rendered in rich gold and orange hues with intricate embroidered detailing, suggests considerable wealth and refinement. The fabric drapes elegantly, highlighting the contours of her form while maintaining a sense of modesty. A delicate necklace adorns her neck, and large, ornate earrings dangle from her lobes, adding to the overall impression of luxury. Her hair is styled in an elaborate fashion, with golden braids carefully arranged and secured by decorative elements.
The woman’s posture conveys composure and dignity. She holds a small, folded piece of paper or cloth in her left hand, its significance remaining ambiguous but potentially indicative of piety or domesticity. The slight turn of her head introduces a subtle dynamism to the otherwise static pose.
A rectangular plaque is affixed to the architectural backdrop, bearing inscribed text that remains largely illegible due to the image quality. Its presence suggests an intention to record information about the subject, perhaps a dedication or a brief biographical note. This element reinforces the portrait’s function as a commemorative work intended for posterity.
The artists meticulous attention to detail is evident in the rendering of textures – from the sheen of the fabric to the softness of the skin and the gleam of the jewelry. The use of light and shadow creates a three-dimensional effect, enhancing the realism of the depiction.
Subtly, there’s an air of restraint and quiet authority about her. She doesnt project overt emotion; instead, she embodies a sense of inner strength and social standing. The profile view itself is significant – it was a common convention in Renaissance portraiture for depicting individuals of high status, suggesting nobility and virtue. The overall effect is one of idealized representation, intended to convey not only physical likeness but also the subject’s moral character and place within the social hierarchy.