LaurieAnnie's photos with the keyword: Ghirlandaio

Selvaggia Sassetti (born 1470) ca. 1487–88 Davide Ghirlandaio (David Bigordi) Italian Object Details Title: Selvaggia Sassetti (born 1470) Artist: Davide Ghirlandaio (David Bigordi) (Italian, Florence 1452–1525 Florence) Date: ca. 1487–88 Medium: Tempera on wood Dimensions: 22 1/2 x 17 3/8 in. (57.2 x 44.1 cm) Classification: Paintings Credit Line: The Friedsam Collection, Bequest of Michael Friedsam, 1931 Accession Number: 32.100.71 Probably painted by Domenico Ghirlandaio’s brother Davide, the sitter of this striking portrait has been identified as the fifth daughter of the banker Francesco Sassetti (he had seven daughters in all). The occasion may have been her marriage to Simone d’Amerigo Carnesecchi in 1488. Her well-to-do clothes include a coral necklace with a gold pendant with a red stone and three pearls. The three-quarter view and the manner in which the bust is cut off, with the arms acting as supports, remind one of sculpted portrait busts. The fine frame is of the sixteenth century. Text from: www.metmuseum.org/art/collection/search/436491

Selvaggia Sassetti (born 1470) ca. 1487–88 Davide Ghirlandaio (David Bigordi) Italian Object Details Title: Selvaggia Sassetti (born 1470) Artist: Davide Ghirlandaio (David Bigordi) (Italian, Florence 1452–1525 Florence) Date: ca. 1487–88 Medium: Tempera on wood Dimensions: 22 1/2 x 17 3/8 in. (57.2 x 44.1 cm) Classification: Paintings Credit Line: The Friedsam Collection, Bequest of Michael Friedsam, 1931 Accession Number: 32.100.71 Probably painted by Domenico Ghirlandaio’s brother Davide, the sitter of this striking portrait has been identified as the fifth daughter of the banker Francesco Sassetti (he had seven daughters in all). The occasion may have been her marriage to Simone d’Amerigo Carnesecchi in 1488. Her well-to-do clothes include a coral necklace with a gold pendant with a red stone and three pearls. The three-quarter view and the manner in which the bust is cut off, with the arms acting as supports, remind one of sculpted portrait busts. The fine frame is of the sixteenth century. Text from: www.metmuseum.org/art/collection/search/436491

Selvaggia Sassetti (born 1470) ca. 1487–88 Davide Ghirlandaio (David Bigordi) Italian Object Details Title: Selvaggia Sassetti (born 1470) Artist: Davide Ghirlandaio (David Bigordi) (Italian, Florence 1452–1525 Florence) Date: ca. 1487–88 Medium: Tempera on wood Dimensions: 22 1/2 x 17 3/8 in. (57.2 x 44.1 cm) Classification: Paintings Credit Line: The Friedsam Collection, Bequest of Michael Friedsam, 1931 Accession Number: 32.100.71 Probably painted by Domenico Ghirlandaio’s brother Davide, the sitter of this striking portrait has been identified as the fifth daughter of the banker Francesco Sassetti (he had seven daughters in all). The occasion may have been her marriage to Simone d’Amerigo Carnesecchi in 1488. Her well-to-do clothes include a coral necklace with a gold pendant with a red stone and three pearls. The three-quarter view and the manner in which the bust is cut off, with the arms acting as supports, remind one of sculpted portrait busts. The fine frame is of the sixteenth century. Text from: www.metmuseum.org/art/collection/search/436491

Selvaggia Sassetti (born 1470) ca. 1487–88 Davide Ghirlandaio (David Bigordi) Italian Object Details Title: Selvaggia Sassetti (born 1470) Artist: Davide Ghirlandaio (David Bigordi) (Italian, Florence 1452–1525 Florence) Date: ca. 1487–88 Medium: Tempera on wood Dimensions: 22 1/2 x 17 3/8 in. (57.2 x 44.1 cm) Classification: Paintings Credit Line: The Friedsam Collection, Bequest of Michael Friedsam, 1931 Accession Number: 32.100.71 Probably painted by Domenico Ghirlandaio’s brother Davide, the sitter of this striking portrait has been identified as the fifth daughter of the banker Francesco Sassetti (he had seven daughters in all). The occasion may have been her marriage to Simone d’Amerigo Carnesecchi in 1488. Her well-to-do clothes include a coral necklace with a gold pendant with a red stone and three pearls. The three-quarter view and the manner in which the bust is cut off, with the arms acting as supports, remind one of sculpted portrait busts. The fine frame is of the sixteenth century. Text from: www.metmuseum.org/art/collection/search/436491