nting viewers can admire both the portrait itself and the skill of the woman who painted it. Although she lived in such a time when it was not common for women to work as commissioned artists – her outstanding skill and creativity obviously provided the means for her to forge an artistic career. Through her art, viewers are given another insight into the definition of feminine beauty in the Renaissance, where all women were not merely objectified for their beauty – she represents a gentle, attractive woman who was also highly educated, intelligent and dedicated to her art. Overall her works contribute to the concept of a ‘beautiful woman’ being an accomplished and inspiringly talented member of Renaissance society. Masculine beauty in the Renaissance could take many forms, but traditionally relied on well-defined images of power, leadership and intelligence. This idea is illustrated clearly through Giorgio Vasari’s portrait of Alessandro de’ Medici – Duke of Florence (1534). Obviously as this was a commissioned portrait, Vasari was very concerned with portraying a visually pleasing image of the Duke. He achieves this by not merely recreating the Dukes physical likeness, but also employing extensive and complex iconographic imagery, revealing to viewers the Dukes personal characteristics which define his beauty. The Dukes wears armour to represent his military power and courage and to show that he is prepared at any time to defend his country. The armour also serves as a mirror, ‘such that his people may be able, in the actions of their lives, to reflect themselves in him’. He holds the golden baton of power to rule as prince and to command as captain. The draping red fabric represents the blood shed by enemies of the Medici family; the portion covering Alessandro’s leg shows the Medici themselves have shed blood. This use of powerful, aggressive imagery is balanced by the vie...
