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The romantic fantasy of shepherds and shepherdesses living in the wilds of Arcadia in Greece was a favored theme in ancient poetry that was revived in Renaissance Italy and around 1600 in the Netherlands. In the 1620s, Honthorst and Cornelis van Poelenburch created a fashion in elite circles for portraying young people in this way.The sitter here may be Catherina Elizabeth von Hanau (1607-47) who married in 1628. In any case, she is a noblewoman from the court in The Hague; an engraving of this portrait is among those of the highest aristocracy reproduced in a publication of 1640, "The True Portraits of Some of the Greatest Ladies of Christendom Disguised as Shepherdesses." Honthorst flourished in Rome and Utrecht as a painter of tavern and religious scenes. Turning to portraiture, he enjoyed the patronage of the court, with assistants preparing portraits for him to touch up.
Page data
- Page
- 1
- Source index
- 0
- Type
- photo
- Media ID
- 3844ca4a0d02a9d6
- Size
- unknown
Document data
- ID
- 21661
- Core
- obj
- Type
- drawing
DTO data
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"sourceUrl": "https://purl.thewalters.org/art/37.2457",
"contentType": "drawing",
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"title": "Portrait of a Lady of the Court as a Shepherdess",
"description": "The romantic fantasy of shepherds and shepherdesses living in the wilds of Arcadia in Greece was a favored theme in ancient poetry that was revived in Renaissance Italy and around 1600 in the Netherlands. In the 1620s, Honthorst and Cornelis van Poelenburch created a fashion in elite circles for portraying young people in this way.The sitter here may be Catherina Elizabeth von Hanau (1607-47) who married in 1628. In any case, she is a noblewoman from the court in The Hague; an engraving of this portrait is among those of the highest aristocracy reproduced in a publication of 1640, \"The True Portraits of Some of the Greatest Ladies of Christendom Disguised as Shepherdesses.\" Honthorst flourished in Rome and Utrecht as a painter of tavern and religious scenes. Turning to portraiture, he enjoyed the patronage of the court, with assistants preparing portraits for him to touch up.",
"provenance": "Earls of Craven, Combe Abbey [1866 Catalog no. 341]; Cornelia, Countess of Craven; Cornelia, Countess of Craven Sale, Sotheby and Co., London, November 27, 1968, no. 61; Walters Art Museum, 1968, by purchase.",
"date": "ca. 1628 (Baroque)",
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Context sent to Scholar
Document identity
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Document source metadata
{
"id": "21661",
"sourceUrl": "https://purl.thewalters.org/art/37.2457",
"contentType": "drawing",
"stage": "normalized",
"title": "Portrait of a Lady of the Court as a Shepherdess",
"description": "The romantic fantasy of shepherds and shepherdesses living in the wilds of Arcadia in Greece was a favored theme in ancient poetry that was revived in Renaissance Italy and around 1600 in the Netherlands. In the 1620s, Honthorst and Cornelis van Poelenburch created a fashion in elite circles for portraying young people in this way.The sitter here may be Catherina Elizabeth von Hanau (1607-47) who married in 1628. In any case, she is a noblewoman from the court in The Hague; an engraving of this portrait is among those of the highest aristocracy reproduced in a publication of 1640, \"The True Portraits of Some of the Greatest Ladies of Christendom Disguised as Shepherdesses.\" Honthorst flourished in Rome and Utrecht as a painter of tavern and religious scenes. Turning to portraiture, he enjoyed the patronage of the court, with assistants preparing portraits for him to touch up.",
"provenance": "Earls of Craven, Combe Abbey [1866 Catalog no. 341]; Cornelia, Countess of Craven; Cornelia, Countess of Craven Sale, Sotheby and Co., London, November 27, 1968, no. 61; Walters Art Museum, 1968, by purchase.",
"date": "ca. 1628 (Baroque)",
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Document source extras
{
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Page context
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