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Surface 141
In my country
The Red Girl (Head of a Red Haired Woman)
Abstraction with Brown Burlap (Sacco)
Orange Car Crash (5 Deaths 11 Times in Orange) (Orange Disaster)
Still life
San Martino and the poor man
A mummified culture
Coat stand (from Naples)
Terrible animal
Sill for one color (Sill for one turquoise)
Living Sculpture
Without title
Archeology
Grafting
The man who broke the statue of God
Thumb print
Archeology
The Four III
Compassion
MDLXIV
Portrait Relief of Claude Pascal
Spots
Era
Drums, bells and cowbells
House
Be breathe
Archeology
DadAndroginErmete
Without title
Prepare yourself for a cosmic-astronomical masterpiece
Without title
Night lookout
From Olympus
The philosophical canvas
Frescoes
Roll of corrugated cardboard
Black-green interference
Iris
The pier (The little train)
Portrait of a lady
Aracne
Study for the death of Leonidas at Thermopylae
Asphyxiation! (left side)
The Siren (Green Abyss)
Female Nude (Ginia) (Ginia with head resting on her arm)
Self-portrait with the feather of jay
Urban landscape
Composition T. 50 - 5
Portrait of Ercole Levi
Painting no. XLV
Marina
Portrait of Annetta Levi (Figure)
Portrait of a lady
Justinian
Surface 141
In my country
The Red Girl (Head of a Red Haired Woman)
Abstraction with Brown Burlap (Sacco)
Orange Car Crash (5 Deaths 11 Times in Orange) (Orange Disaster)
Still life
San Martino and the poor man
A mummified culture
Coat stand (from Naples)
Terrible animal
Sill for one color (Sill for one turquoise)
Living Sculpture
Without title
Archeology
Grafting
The man who broke the statue of God
Thumb print
Archeology
The Four III
Compassion
MDLXIV
Portrait Relief of Claude Pascal
Spots
Era
Drums, bells and cowbells
House
Be breathe
Archeology
DadAndroginErmete
Without title
Prepare yourself for a cosmic-astronomical masterpiece
Without title
Night lookout
From Olympus
The philosophical canvas
Frescoes
Roll of corrugated cardboard
Black-green interference
Iris
The pier (The little train)
Portrait of a lady
Aracne
Study for the death of Leonidas at Thermopylae
Asphyxiation! (left side)
The Siren (Green Abyss)
Female Nude (Ginia) (Ginia with head resting on her arm)
Self-portrait with the feather of jay
Urban landscape
Composition T. 50 - 5
Portrait of Ercole Levi
Painting no. XLV
Marina
Portrait of Annetta Levi (Figure)
Portrait of a lady
Justinian

Portrait of a lady

Giovanni Boldini

Displayed in:

GAM - Gallery of Modern Art, Turin

GAM - Gallery of Modern Art, Turin

Via Magenta, 31, Turin

Closed today: open Tuesday at 10:00

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Brilliant and refined painter from Ferrara, Boldini was one of the most acute interpreters of the elegant and sensual atmosphere of the Belle Époque, which from Paris, the privileged theater of international cultural experiences, expanded into the frenetic cosmopolitan capitals of Europe and the refined environments of Italian cities. he moved to Paris, living in the Ville lumière in the period of maximum splendor, frequenting the best bourgeois circles and thus becoming the interpreter of worldly life, capable as he was of inventing wonderful portraits of the most fashionable personalities of the time. . Together with Sargent, an American painter, he was considered towards the end of the century the most fashionable painter in Paris, capable of fixing the grace and elegance of the snobbish society of the time, making a realistic portrait of bourgeois life. Portrait of a lady, where he portrays a charming woman with an unknown identity with an elegant hairstyle, in an image played on golden and black tones, as if to recall the Spanish portraitists of the seventeenth century, as he already did in the Portrait of Madame Veil -Picard of 1897 (private collection). In 1880, during a trip to Holland, he met the painting of Frans Hals, whose technical speed of touch greatly impressed the Ferrara artist, so much so that towards the end of that decade he oriented himself towards a painting with increasingly rapid brushstrokes, in a synthesis of the gesture that will become a characteristic feature of his art. This dynamism of the stroke led his painting to a dematerialization effect of the figure, which lost its outlines, to focus on a well-defined part: usually this effect was applied in a descending way; from the face, more defined, the clothes were lost in the darting speed of the stroke. In fact, note how even in the Portrait of a Lady the evanescent effect is applied to the elegant dress of the woman, which is only hinted at.
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Details

Title: Portrait of a lady

Author: Giovanni Boldini

Date: 1901 ca.

Technique: Oil on the table

Displayed in: GAM - Gallery of Modern Art, Turin

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