Three Studies of a Woman Wearing an Elaborate Headdress — Anonymous; Peter Paul Rubens (Flemish, 1577

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Credit: John L. Severance Fund
Licence: CC0-1.0
Evidence: openaccess-api.clevelandart.org: share_license_status=CC0 on artwork 153723 (read 2026-09-01)
Record: https://clevelandart.org/art/1987.31

Within fifty years of c. 1500

320

The Creation of the World and the Expulsion from Paradise, Giovanni di Paolo (Giovanni di Paolo di Grazia) — The Creation of the World and the Expulsion from ParadiseGiovanni di Paolo (Giovanni di Paolo di Grazia)1445Metropolitan Museum of Art, New York, NY

Paradise, Giovanni di Paolo (Giovanni di Paolo di Grazia) — ParadiseGiovanni di Paolo (Giovanni di Paolo di Grazia)1445Metropolitan Museum of Art, New York, NY

The Right Hand of God Protecting the Faithful against the Demons, Jean Fouquet — The Right Hand of God Protecting the Faithful against the DemonsJean Fouquetca. 1452–60Metropolitan Museum of Art, New York, NY

Madonna and Child with Angels, Antonio Rossellino — Madonna and Child with AngelsAntonio Rossellinoca. 1455–60Metropolitan Museum of Art, New York, NY

Minature Handled Bowl with Textile-like Design, Inca — Minature Handled Bowl with Textile-like DesignInca1450–1532The Art Institute of Chicago

Ritual Impersonator of the Deity Xipe Totec, Mexica (Aztec) — Ritual Impersonator of the Deity Xipe TotecMexica (Aztec)1450–1500The Art Institute of Chicago

Manuscript Leaf with the Trinity in an Initial G, from an Antiphonary, Master of the Riccardiana Lactantius — Manuscript Leaf with the Trinity in an Initial G, from an AntiphonaryMaster of the Riccardiana Lactantiussecond half 15th centuryMetropolitan Museum of Art, New York, NY

Saint John the Baptist, Jan Crocq (Netherlandish, act. 1486–1510) — Saint John the BaptistJan Crocq (Netherlandish, act. 1486–1510)c. 1500Cleveland Museum of Art

Also at Cleveland Museum of Art

551

Relief of Nyankhnesut Seated, Unknown — Relief of Nyankhnesut SeatedUnknownc. 2311–2281 BCECleveland Museum of Art

Stele of Shemai, Unknown — Stele of ShemaiUnknownc. 1960–1916 BCECleveland Museum of Art

Relief of Hatshepsut or Tuthmosis III, Unknown — Relief of Hatshepsut or Tuthmosis IIIUnknown1479–1425 BCECleveland Museum of Art

Talatat: Portrait of Nefertiti, Unknown — Talatat: Portrait of NefertitiUnknownc. 1353–1347 BCECleveland Museum of Art

Talatat: Nefertiti Offers to the Aten, Unknown — Talatat: Nefertiti Offers to the AtenUnknown1353–1347 BCECleveland Museum of Art

Tomb Relief of the Chief Physician Amenhotep and Family, Unknown — Tomb Relief of the Chief Physician Amenhotep and FamilyUnknownc. 1279–1257 BCECleveland Museum of Art

Stele of the High Priest of Ptah, Shedsunefertem, Unknown — Stele of the High Priest of Ptah, ShedsunefertemUnknown945–924 BCECleveland Museum of Art

Similar picturesFound by visual likeness

1 pictures

Other makers only

Visual resemblances suggested by the model. A match does not establish a shared subject or historical connection.

Proofs for four plates of "Alfabeto in Sogno" [Dream Alphabet]: Letter I, Giuseppe Maria Mitelli, 1634 – 1718 — Proofs for four plates of "Alfabeto in Sogno" [Dream Alphabet]: Letter IGiuseppe Maria Mitelli, 1634 – 17181683Cooper Hewitt, Smithsonian Design Museum

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principles of art history · heinrich wolfflin
The baroque antithesis to Raphael and Diirer is here represented by Rubens’ Christ Bearing the Cross* (engraving by Pontius with a variant anterior to the picture in Brussels). The recessional movement most brilliantly developed, and made still more interesting by an upward movement. The stylistically new factor we are looking for certainly does not lie in the merely material motive of the direction of movement, but, as it is a question of a principle of present- ment, in the way in which the theme is handled, how every recessional element
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principles of art history · heinrich wolfflin
PAINTING 75 tion. It is not a question of the degree of recession in the space represented, but in what way recession is made effective. Even where the seventeenth century apparently indulges in pure compositions in breadth, a closer com- parison must prove the fundamentally different point of departure. The spiral into-the-picture movement which Rubens loves will certainly be sought for in vain in Dutch pictures, yet this system of Rubens’ is only one type of re- cessional composition. There need even be no plastic oppositions of foreground and background:
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principles of art history · heinrich wolfflin
The course of the development of art, however, cannot simply be reduced to a series of separate points. Individuals fall into larger groups. Botticelli and Lorenzo di Credi, for all their differences, have still, as Florentines, a certain resemblance when compared with any Venetian, and Hobbema and Ruysdael, however divergent they may be, are immediately homogeneous as soon as to them, as Dutchmen, a Fleming like Rubens is opposed. That is to say: to the personal style must be added the style of the school, the country, the race. Let
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Made in the fifteenth century, like Three Studies of a Woman Wearing an Elaborate Headdress.

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