![]() ![]() She reflected, “Most of our male colleagues continued for a long while to look upon us as charming and gifted amateurs, denying us implicitly any real professional status.” 1 She exhibited in their exhibitions, including the First International Dada Fair in Berlin in 1920, and her photomontages received critical acclaim despite the patronizing views of her male peers. After meeting artist and writer Raoul Hausmann in 1917, Höch became associated with the Berlin Dada group, a circle of mostly male artists who satirized and critiqued German culture and society following World War I. Known for her incisively political collages and photomontages (a form she helped pioneer), Hannah Höch appropriated and recombined images and text from mass media to critique popular culture, the failings of the Weimar Republic, and the socially constructed roles of women. ed., London 1975, pp.“Most of our male colleagues continued for a long while to look upon us as charming and gifted amateurs, denying us implicitly any real professional status.” Gould, ‘The 16th Century Italian Schools’, rev. ![]() This material was published on 30 June 2010 to coincide with the exhibition Close Examination: Fakes, Mistakes and DiscoveriesĬ. Weinrebe Curatorial Assistant at National Gallery. It is also conceivable the alterations were effected to make it more like the work of Palma Vecchio, for as the layers of overpaint were stripped off, so too were the old attributions to Palma Vecchio (and, for that matter, Pordenone). In its original state, the figure’s pronounced bust, sidelong glance and appearance at a window (not a common motif in North Italian portraits of women) suggest that she might be a courtesan or a prostitute. There is no record that the alterations were made at the National Gallery, although the possibility cannot be ruled out, especially since the work had been banished to Ireland.Ī more likely explanation, however, is that the painting was adjusted to conform to 19th-century mores with the intention of making it saleable prior to the acquisition by the Gallery. It is not known when the picture was overpainted, but the ease with which these later additions dissolved would suggest that it had occurred relatively recently (in other words, in the 19th century). And there were more surprises to come – the line of the jaw, the nipples and, most startlingly, the eyes had been radically altered by later interventions. The after-treatment conservation report records the unexpected results: "What had been thought to be a damaged under-layer disguised by re-touching, for example in the sitter’s hair, was quickly revealed to be the original paint in good condition, and it was clear that alterations have been made to the original design."Īs the restorer removed the old varnish, he found that a soluble brown overpaint dissolved with the varnish, revealing the sitter’s blond hair beneath it. In 1978 Woman at a Window was recommended for restoration. He gave the painting to Pordenone, an attribution which proved sufficiently influential for Cecil Gould to endorse it in his 1959 catalogue of the 16th-century Italian schools. Meanwhile, in 1957, the costume historian Stella Mary Pearce compared the dress worn by the sitter in the picture with the costume in Titian’s ‘Sacred and Profane Love’ (Galleria Borghese, Rome), and suggested a date of around 1515. The art historian Bernard Berenson was next to contribute his opinion in 1936. In the same year Roberto Longhi, an Italian scholar, proposed that it was by Lorenzo Lotto, but in a ‘Palmesque phase’. In the catalogue of the collection published in 1929, the attribution was changed to ‘Italo-Flemish School’ and the work was dated to around 1540. ![]() ![]() Why this happened is not certain, but perhaps the Dublin gallery, like the National Gallery of Scotland, was being used to ‘store’ salacious paintings (Garofalo’s erotic An Allegory of Love, for example, was sent to Edinburgh almost immediately after acquisition in 1860).Īs a result of its exile, the painting did not appear in a National Gallery catalogue until 1925, when it was assigned to the ‘ School of Palma Vecchio’. Two years later, it was sent to the National Gallery of Ireland, Dublin. It became the first painting thought to be by Palma Vecchio to enter the collection. In 1855 the painting was acquired by the National Gallery from the Galvagna collection in Venice as a ‘Portrait of the Painter’s Daughter’ by Palma Vecchio. Italian, North, Woman at a Window, probably 1510–30 ![]()
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