Browse Items (12 total)

Standing tall and regal in a three-quarter pose, Caterina gazes sideways at the viewer with composure, her lips pursed and hands clasped together in front of her. Her lavishly-robed figure fills the frame, positioned against a sober black background…

Cameria, the daughter of Suleiman the Magnificent, faces the viewer in a three-quarter pose, her expression still and confident as she makes direct eye-contact. Her left hand rests lightly on the wheel of Saint Catherine of Alexandria, a choice that…

A centrally-positioned woman gazes directly at the viewer, her head cocked to the side as she reclines on a stone wall bearing an inscription. This inscription identifies one level of the figure’s identity as the biblical femme fatale Salome: "QVAE…

In this portrait – believed to be a self-portrait of Marietta Robusti – the sitter gazes outward at the audience with a slight smile. Turned in a three-quarter pose toward the spinet, her left hand floats above the keys as if surprised by the viewer…

Unlike the supposed portrait of fellow poet-courtesan Tullia d’Aragona, Franco’s eyes are averted from the viewer, so she poses no direct challenge to her audience. Her face recedes into shadow, partially hidden from the viewer, leaving her…

Compared to Giorgione’s Judith, Cariani’s Judith is dark and sensual, beautiful but clearly dangerous. Centrally positioned, Judith emerges from an ominous background filled with storm clouds, her left breast exposed and framed by dark green drapery…

This calligraphic drawing was created as part of Giovanna Garzoni's "Libro de’ caratteri cancellereschi corsivi," or “Book of Chancery Cursive Letterforms.” Garzoni, an itinerant artist, was born in Ascoli Piceno to a Venetian family and is believed…

“I await fame and glory in life, and then in death” [1]. Like Tullia d’Aragona’s dialogue, Moderata Fonte’s Il merito delle donne (1600) is a commentary on the dialogues of philosophers and humanists, which were almost exclusively composed of male…

In this painting, we see a young woman fleeing a satyr seated upon the ground. Gentileschi highlights Corisca's movement through the figure's spatial dominance of the picture plane and her billowing garments with highly articulated drapery. Her…

In a pastoral setting of a symbolic laurel and a changeable blue sky, the poet is placed in the imaginary domain of her works. With a half-smile, she turns toward the viewer from her three-quarter pose, apparently seated on the grass or perhaps a log…