Collegio della Guastalla
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about Collegio
The handwork is mentioned in the Inventories of Guastalla of 1768 as a portrait of "a daughter in great" kept at that time in the room of the prioress. The term daughter was used at the time to indicate the girls who were admitted at the age of ten and who came from noble families. The painting can therefore presumably be considered as the portrait of a "figliolina" donated by the family to the Collegio on the occasion of her admission to Guastalla.

Curiosity
In the foreground is a young woman wearing an elegant red brocade dress with precious black embroidery, borders and a white lace collar. The wonderful dress - typical of Spanish fashion spread in Milan in the seventeenth century - suggests that she is an exponent of the city nobility. The little girl is holding a blue flower in her right hand and with her left hand she is leaning on a table where a precious blue and gold vase with colourful flowers is placed.


Colour ranges

The dark colour ranges dominate: the background, the piece of furniture on which her hand is leaning and the floor fade into similar shades that make the space around the girl almost monochromatic. The red-brown ranges of the dress, the ribbon in her hair and the flowers stand out. Then there are three dark blue details that make the whole painting dynamic: a flower in the middle, another flower on the left and a detail of the precious vase. All the other colour ranges fade into grey.

Analysis of light

The work presents a diffused light. The face and the dress are uniformly illuminated by a light source coming from the left side which does not create strong foreshadowing contrasts, but every detail of the decoration of the fabric emerges clearly.

Study of the composition

We see an official portrait typical of the seventeenth century, with an elegantly dressed girl and behind her a background characterised by a few precious items of furniture. In this way the figure is the absolute protagonist of the scene, thus attracting the attention of the observer. It is perfectly symmetrical to the centre and can be contained in a triangular shape.

Anonymous Lombard XVII century oil on canvas 130x100 cm