1507 Oil on panel tranferred from parchment, 30 x 20 cm Staatliche Museen, Berlin This small painting was in the collection of the Imhoff family of Nuremberg, and cited in their inventory from 1573-74 until 1628. In 1633, it was handed over, with the title Portrait of a Young Girl, with other works by D?rer, to Abraham Bloemart, an artist and merchant from Amsterdam. In 1899, the portrait reappears in London, and the firm P. and D. Colnaghi donated it to the Berlin art gallery. The delicate girl is portrayed with soft, curly blond hair, slightly dreamy her eyes, one somewhat lower than the other, a gentle, melancholic gaze; and well-defined, slightly parted lips. The red beret, worn sideways, with a little slit to the side, with a long red ruby and black pearl pendant, gives her a slightly cheeky air. The square green border of the red bodice sets off the upper part of her body. All these details put together have led to various interpretations. In addition to the fact that the "girl," when sold by the Imhoffs, was transformed into a "boy," Panofsky (1955) attributes an androgynous nature to her that could reveal the possible homosexual tendencies of the artist. A teasing letter of 1507 from the canonical Lorenz Behaim of Bamberg and the fact that the portrait does not seem to have been ordered would support this hypothesis. It has also been debated whether the painting was executed in Venice or after D?rer's return to Nuremberg. Considering the clothing to be typically German, there is no doubt as to its provenance.Artist:D?RER, Albrecht Title: Portrait of a Young Girl Painted in 1501-1550 , German - - painting : portrait
Painting ID:: 63749
Cornelis van Poelenburch first half of 17th century
Medium oil on panel
Dimensions Height: 21 cm (8.3 in). Width: 17 cm (6.7 in).
cyf Portrait of a Young Girl (1594 - 12 August 1667) was a Dutch Golden Age landscape painter.
Though his birthplace is unknown, a signed document survives in Utrecht where he is listed as six years old and the son of Simon van Poelenburch, a Catholic canon in Utrecht.He initially trained with Abraham Bloemaert, and his earliest signed paintings are from 1620.He traveled to Rome where he was influenced by Adam Elsheimer and became a founding member of the Bentvueghels. He counted a few cardinals under his patrons, and was called to England by Charles I of England, for whom he made small cabinet pieces. He returned to Utrecht where he later died just a few years after his old teacher Abraham Bloemaert.He painted mostly small landcapes with mythical or religious figures or passages, in a style that would later be evident in some of the works of Claude Lorraine.
His "most important and successful" pupils were Daniël Vertangen, Dirck van der Lisse, François Verwilt, and Jan van Haensbergen. Arnold Houbraken claimed that his best pupil was Joan vander Lis from Breda (not Dirk vander Lis from The Hague). Houbraken then mentioned Vertangen, Verwilt, Warnard van Rysen from Bommel, and Willem van Steenree, a nephew. The RKD also mentions Laurens Barata.
