Definitions
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Etymologies
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Examples
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It's possible that those features were derived from a random model, and that "Antea" "implies a relationship of desire between herself and the viewer, suggesting that she has accepted the advances of the beholder on whom she gazes."
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The Frick's Ms. Neilson believes that the painter has placed us, the viewers, in the position of lover, with "Antea" an idealized invention.
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Tempting as it is to believe that "Antea" was the artist's lover and a courtesan, she lacks the disheveled hair and unabashed expression that are visual code in Renaissance portraiture for that line of work.
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"Antea" 's jewels and fur are typical of those given as wedding gifts to new brides.
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Ms. Neilson dates "Antea" from 1531 to 1534, based on related drawings of the figure's hand.
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There is a faint melancholy about her, but Parmigianino's "Antea," on view in the U.S. for the first time in 20 years, is one of the most enigmatic female portraits of the Renaissance.
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The marten could be read as evidence that "Antea" was a bride.
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Though the portrait incorporates some Mannerist elements -- the exaggerated dress and disproportionate head place the work in that period, between the late Renaissance and the Baroque, with which Parmigianino is associated -- "Antea" also exemplifies the great achievement of the Renaissance: a convincing naturalism that brings subjects to life.
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But the recent datings of "Antea" indicate that Ottavia would have been too young to be the girl in the portrait.
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Parmigianino endowed "Antea," a lone, standing figure, with a beguiling humanity.
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