In Florentine male portraits painted during the approximate period 1440-1490, the man generally appears in three quarter view, strong, virile, taking up nearly the entire canvas space.
Now, looking at female portraits from the same position and time period, today's viewer will note first of all that the woman is in profile. Her gazes, instead of turned outward toward the world, and is averted. Her facial look is docile and simplistic. There is no emotion or feeling in the still quiet face.
Now, looking at female portraits from the same position and time period, today's viewer will note first of all that the woman is in profile. Her gazes, instead of turned outward toward the world, and is averted. Her facial look is docile and simplistic. There is no emotion or feeling in the still quiet face.
Interestingly, this trend has received very few attentions by art historians. Basically, Florentine female portraiture during 1440-1490 was little more than an idealization of the female condition, as determined solely by the masculine contingent of the day.
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