• Leonardo da Vinci The Lady of the Dishevelled Hair
  • Leonardo da Vinci The Lady of the Dishevelled Hair
  • Leonardo da Vinci The Lady of the Dishevelled Hair
  • Leonardo da Vinci The Lady of the Dishevelled Hair
Leonardo da Vinci The Lady of the Dishevelled Hair

The Lady of the Dishevelled Hair

This work was painted around 1508 and it is now preserved at the National Gallery in Parma. A young girl is represented with her eyes turned downwards; the curved shape of the shoulders is barely hinted on the table and it suggests the position of his body, turned three-quarters. The work is called "Scapigliata" because of the hair of the girl, disordered and moved by the wind.
€89.90
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P-098

Data sheet

1 - Characteristics and Properties
Wood frame with edges of cm. 3.0 thickness
2 - Characteristics and Properties
Ready to hang
3 - Characteristics and Properties
Edges are finished on the sides
4 - Characteristics and Properties
Full HD print on washable, UV-resistant canvas
Remarks
Imported product

Specific References

ean13
8052745673386
This work was painted around 1508 and it is now preserved at the National Gallery in Parma. A young girl is represented with her eyes turned downwards; the curved shape of the shoulders is barely hinted on the table and it suggests the position of his body, turned three-quarters. The girl holds her mouth bent, hinting a small smile; her eyes, half-closed and facing the floor, prevent her from meeting other looks; his features are sweet and delicate. The work is called "Scapigliata" because of the hair of the girl, disordered and moved by the wind. The girl has an introspective look and, immersed in her thoughts, she gives us a feeling of mystery and uncertainty. Her face is highlighted by a clever play of light and shadow that make it enigmatic and fascinating. Leonardo was the founder of modern physiognomy and he was a great inspiration for several fellow painters. Within his paintings, the gestures, positions and expression of the faces are the visible consequence of the movements of the soul. In this sense he affirmed: "The figure will not be laudable if it does not show the passion of the soul".

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