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  • Lyudmila Belova

    Maria Magdalena, Jan van Scorel, ca. 1530 olieverf op paneel, h 66,3cm × b 76cm. Rijksmuseum, Amsterdam

  • rijksmuseum

    The woman is Mary Magdalen. A jar of ointment is her usual attribute, with which she is said to have tended Jesus’s feet. Van Scorel portrayed her as a seductive, lavishly dressed courtesan, a reference to her apparent origins as a prostitute. Her costume shows the influence of Italian painting on Van Scorel, which he absorbed when he travelled to Rome. Jan van Scorel, 1530.

  • morceaux choisis

    Mariamagdalena / Jan van Scorel

  • Turhan Daybelge

    Mary Magdalen by Jan van Scorel @ Rijksmuseum, Amsterdam

  • rijksmuseum

    Only 56 more nights until we see this splendid work by Jan van Scorel from 1530. Van Scorel was one of the first painters from the Low Countries to go to Italy. There he saw Michelangelo’s and Rafael’s works, and was even in the service of Pope Adrian VI, the only Netherlandish pope (up until now, that is)

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The upper sleeves interest me. Actually the whole dress does. Fabric, edging, and all.

This hair would be easy to fake on someone with short hair. Baroque-the tapered, slashed sleves

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Saint Elizabeth of Hungary ca. 1365. Often pictured with roses, in connection with the story of a particular miracle. Whilst carrying bread to the poor in secret, Elisabeth was stopped and asked what she was carrying under her cloak. (She was susupected of stealing from the treasury) As she released her hold, it appeared to be nothing more than a vision of roses, and she was allowed to proceed.

Likely Italian, late 1500s. the upper sleeve is much longer than I've ever seen, interesting to know if each is a separate section or long panes with 3 parts couched down with buttons. I have a feeling this is caused by the painter's less than expert use of perspective.

Ghirlandaio - Interested in making on of these connected sleeve dress like the blue and darker navy in the back. Don't see those as often. Earlier period?

Another interesting contemporary costume study, this time by Hans Holbein the Younger.  It’s very unusual to see women’s shoes in Medieval and Renaissance artwork, making information about them scarce.

Clothing during the time of the renaissance looked like this. For the costumes in the 1500 they were elaborate and used pieces provided by the nobility. This is why I chose this dress. It is what the nobility might have worn which is where there costumes came from.

St. George and the Dragon, detail of the Princess, c.1445-50 (oil on panel) by Jost Haller (c.1410-c.1485)

Rogier van der Weyden. St. John Altarpiece. The Birth of St. John the Baptist.

Juan van der Hamen y León - Infanta Maria de Áustria Data 1626