Simon Pietersz Verelst – Mary of Modena
c.1680. 126×103
Location: Yale Center for British Art, Paul Mellon Collection, New Haven.
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Here we see an elaborate arrangement of clothing: a gown featuring a complex pattern in deep reds and blues, layered beneath a lavishly draped robe of peach and cream hues. The sleeves are particularly noteworthy, their voluminous folds creating a sense of opulence and contributing to the overall impression of grandeur. A string of pearls adorns her neck, drawing attention to her décolletage, while a jeweled brooch is prominently displayed on her bodice.
The woman’s hair is styled in an elaborate fashion, characteristic of the period, with cascading curls framing her face. The artist has rendered it with considerable detail, capturing both its texture and volume. A bouquet of flowers – poppies, roses, and other blooms – is placed near her shoulder, adding a touch of naturalism to the otherwise formal setting.
The background is dark and indistinct, serving to isolate the figure and emphasize her presence. The limited palette reinforces this effect, with the warm tones of the fabrics contrasting against the somber backdrop. This creates a sense of depth and draws the viewer’s attention directly to the subject.
Subtleties within the painting suggest a complex narrative beyond mere representation. The womans posture – one hand resting on a table, the other holding a flower – implies both control and vulnerability. The flowers themselves carry symbolic weight; poppies are often associated with sleep or oblivion, while roses represent love and beauty. Their presence could be interpreted as alluding to themes of power, loss, or perhaps even political intrigue. The overall effect is one of carefully constructed elegance, hinting at a life lived within the constraints of courtly protocol and societal expectations.