d as political propaganda to promote the wealth, power and status of the Medici family. In order to secure their hold on Florence and Tuscany, Cosimo and Eleonora pursued a campaign of artistic patronage to create for themselves well recognised images. As beauty was synonymous with virtue, Eleonora’s fine looks were utilised as political tool - a public display of sophisticated grace necessary to further Cosimo’s aims. Here feminine beauty is used as a vital means of communication – becoming an essential instrument for the demonstration of status and power in Renaissance political arenas.Overall this portrait presents an image of female beauty that is an icon of power and elegance. Contrary to the sexually charged La Bella, the concept of female beauty here lies in Bronzino’s depiction of Eleonora’s vital role as a Mother, and in her royal demeanour which defines her superior position in Renaissance society. Another interesting portrait which also contributes to the definition of feminine beauty in the Renaissance is Self Portrait at the Easel (1556) by Sofonisba Anguissola. For a time when women were admired and portrayed primarily for their physical appearance it is unusual to find a portrait illustrating a young woman austerely dressed, engaged in a process requiring such talent and dedication as portraiture. Sofonisba presents herself honestly, seemingly without elaboration or idealisation. Her hair is braided simply around her head, tied back securely with simple hair net. Her gaze is calm and direct – her large eyes meeting the viewers with unruffled composure. She is plainly dressed in a dark ascetic smock with little trim. She is shown in the process of creating a devotional image, grasping paintbrush and mahlstick, with the tools of her art in front of her.Anguissola has created for herself an image of modest loveliness, which is striking with its lack of pomp and pretension. Through her pai...
