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It portrays the unfinished outline of a young woman whose face gently gazes downward while her loosely drawn, dishevelled hair waves in the air behind her. [7] The woman's eyes are half-closed and completely ignore the outside world and viewer, while her mouth is slightly shaped into an ambiguous smile, evocative of the Mona Lisa . [ 3 ]
The drawing is a portrait of a young woman, with only her head visible. Tilted downwards, her face is seen in a three-quarter view on her right side. Her hair forms two braids held in place by a veil at the top of her head, while a lock hangs over her left cheek. [3]
A vertical crack on the right side of the face is a consequence of the internal structure of the ivory. On the head is a checkerboard-like pattern formed by two series of shallow incisions at right angles to each other; it has been interpreted as a wig, a hood with geometric decoration, [6] or simply a representation of hair styled in cornrows. [7]
In modern figure drawing, the basic unit of measurement is the 'head', which is the distance from the top of the head to the chin. This unit of measurement is credited [2] to the Greek sculptor Polykleitos (fifth century BCE) and has long been used by artists to establish the proportions of the human figure.
The Head of a Young Woman is a drawing in silverpoint on paper by the Florentine painter Leonardo da Vinci, housed in the Royal Library of Turin. [ 1 ] [ 2 ] See also
Woman's Head (1939). Woman's Head is a 1939 oil-on-canvas painting by Pablo Picasso.It is a depiction of Dora Maar, Picasso's companion at the time.Picasso donated the work to the people of Greece in recognition of their resistance against the Axis during the Second World War.
Roy Lichtenstein, El Cap de Barcelona (The Head) (1991–1992) El Cap de Barcelona (1991–1992) is a surrealist sculpture created by American Pop artist Roy Lichtenstein for the 1992 Summer Olympics in Barcelona, Catalonia, Spain. Its English title is The Head of Barcelona. [1] [2] The sculpture was Lichtenstein's first outdoor work using ...
The phlegmatic look on Judith's face contrasts the intensity of her beheading. [7] Gentileschi captures the emotions of Judith's face but maintains more medical accuracy with the blood that is spilling down the bed. She shows Judith in the act of beheading rather than showing her holding the head of Holofernes as Cranach did. [7]