Portrait of a Woman

c. 1670
(Swiss, 1607–1691)
Framed: 2.9 x 2.2 cm (1 1/8 x 7/8 in.); Unframed: 2.3 x 2.1 cm (7/8 x 13/16 in.)
You can copy, modify, and distribute this work, all without asking permission. Learn more about CMA's Open Access Initiative.
Location: not on view

Download, Print and Share

Description

Unlike fragile portrait miniatures painted in watercolor on vellum or ivory, which are prone to cracking, fading, and flaking, enamels are resilient, impervious to the effects of light, and retain their striking original colors over time. Partly for this reason enamel was considered ideal for reproducing famous paintings and treasured portraits in a reduced and luminous form. The complicated and labor-intensive process of enameling required the artist to fire numerous layers of colored metal oxide at different temperatures, which made it difficult to produce a faithful portrait likeness, though masters of the medium were able create portraits of remarkable subtlety imbued with the sitter's personality. The heyday of enamel painting was the late 1600s and early 1700s. Among the enamel specialists was Petitot, who was patronized by King Charles I of England, King Louis XIV of France, and King John III Sobieski of Poland.
Portrait of a Woman

Portrait of a Woman

c. 1670

Jean Petitot

(Swiss, 1607–1691)
France, 17th century

Visually Similar Artworks

Contact us

The information about this object, including provenance, may not be currently accurate. If you notice a mistake or have additional information about this object, please email collectionsdata@clevelandart.org.

To request more information about this object, study images, or bibliography, contact the Ingalls Library Reference Desk.

All images and data available through Open Access can be downloaded for free. For images not available through Open Access, a detail image, or any image with a color bar, request a digital file from Image Services.