ORThe Open Room
Digital gallery
Back to the NGA collection
Shown from the shoulders up, a young woman with pale skin, dark hair, and wearing a muted turquoise bodice over a white shirt, peers at us against an olive-green background in this vertical portrait painting. Her shoulders are angled slightly to our left, and she tips her head away from us, over her right shoulder, to our left. With her chin jutting a bit toward us, she looks at us from the corners of her heavy-lidded, dark green eyes under arched brows. She has a straight nose, and her smooth cheeks are flushed. The corners of her closed, peach-colored lips are barely pulled back in a faint smile. Her chestnut-brown hair is pulled back, and short curls frame her face in front of her ears. She wears a white, ruffled flower with a white bud and deep green leaves in her hair over her left temple, to our right. A dark rope or twisted fabric encircles her neck, and she gathers the long ends in her right hand, to our left, at her chest. One long curl wraps around the fabric, to our left. Her chest is smooth, and the backs of her fingers are touched with coral pink. Her low-cut, muted blue bodice is worn over a full-sleeved, white shirt pleated below the shoulders. She is lit from our left so casts a shadow against the olive-green wall to our right.
Read the visual description

Shown from the shoulders up, a young woman with pale skin, dark hair, and wearing a muted turquoise bodice over a white shirt, peers at us against an olive-green background in this vertical portrait painting. Her shoulders are angled slightly to our left, and she tips her head away from us, over her right shoulder, to our left. With her chin jutting a bit toward us, she looks at us from the corners of her heavy-lidded, dark green eyes under arched brows. She has a straight nose, and her smooth cheeks are flushed. The corners of her closed, peach-colored lips are barely pulled back in a faint smile. Her chestnut-brown hair is pulled back, and short curls frame her face in front of her ears. She wears a white, ruffled flower with a white bud and deep green leaves in her hair over her left temple, to our right. A dark rope or twisted fabric encircles her neck, and she gathers the long ends in her right hand, to our left, at her chest. One long curl wraps around the fabric, to our left. Her chest is smooth, and the backs of her fingers are touched with coral pink. Her low-cut, muted blue bodice is worn over a full-sleeved, white shirt pleated below the shoulders. She is lit from our left so casts a shadow against the olive-green wall to our right.

National Gallery of Art · Painting

A Girl with a Flower in Her Hair

Pietro Rotari

Date
1760/1762
Medium
oil on canvas
Dimensions
overall: 45.8 x 35.4 cm (18 1/16 x 13 15/16 in.)
Classification
Painting
Accession number
1939.1.108
Credit line
Samuel H. Kress Collection
Time span
1751 to 1775
Department
CIS-B
Original NGA record Wikidata

Subjects and terms

  • painted surface
  • Baroque
  • Venetian
  • female
  • portrait
  • Italian Paintings of the Seventeenth and Eighteenth Centuries
Provenance

Said to have been given by Empress Catherine II of Russia [1729-1796] to Prince Aleksandr Andreyevich Bezborodko [1747-1799], her secretary of petitions and later imperial chancellor; given by him to Prince Viktor Pavlovich Kochubei [1768-1834], Russian diplomat and statesman.[1] (Count Alessandro Contini Bonacossi, Rome); purchased July 1932 by the Samuel H. Kress Foundation, New York;[2] gift 1939 to NGA. [1] In notations in the Samuel H. Kress Foundation records, NGA curatorial files. These come from the bill of sale (see note 2), which reads "Two Portraits of Young Girls...By Count Pietro Rotari...From the Royal Palace of Catherine of Russia...Were given as a present to Prince Besborodko, Chancellor of State, from whom they went to The Collection of Prince Kociubey, Hetman of Ucraine." [2] The date of purchase is often given as 1939, which is, however, the date the painting entered the National Gallery. The bill of sale for several paintings, a book of drawings, a sculpture, two vases, and a velvet cope is dated 29 July 1932 (copy in NGA curatorial records). Roberto Longhi's expert opinion on the back of a Kress photograph (NGA curatorial files) is dated November 1932, and Alfred M. Frankfurter. "Eighteenth Century Venice in a New York Collection," _The Fine Arts_ 19 (December 1932): 10, repro. 7, documents the painting in the Kress Collection by December of that year. See also The Kress Collection Digital Archive, https://kress.nga.gov/Detail/objects/46.

NGA object ID 249. Collection metadata is reproduced under CC0. This work is included because its NGA published-image record is marked open access; visitors should recheck the source record before substantial reuse.