Selection of the Art Object
The purpose of this paper is to conduct a formal analysis of an art object to develop a more profound understanding and appreciation of it. The artwork analyzed is “Lady with an Ermine” by Leonardo da Vinci. Hopefully, this analysis will help you gain a deeper understanding of the artwork and its techniques, as well as see and value it from a new perspective.
Below is an image of the work:
Identification of the Art Object
- Title of the Work: Lady with an Ermine.
- Artist or School: Leonardo da Vinci.
- Year Completed: c. 1489–1491.
- Medium Used: oils on a walnut board.
- Where Made or Found: acquired in Italy in 1798.
- Current Location: Czartoryski Museum, Kraków, Poland.
Objective Description of the Art Object’s Subject Matter
The painting portrays a young woman, thought to be Cecilia Gallerani, who is widely believed to have been the mistress of the Duke of Milan, Lodovico Sforza. The woman is positioned in a way that is not entirely facing the viewer, and her head is slightly turned to the left. She is holding a white ermine in her arms, which could represent the Sforza family’s authority and control (Keshelava).
Her features are aristocratic and refined, with large brown eyes that have a thoughtful expression. She is wearing a ribbon called a ferronnière on her forehead and a transparent cap with a gold braid on her head (Art in Context). Her dress is quite simple and scarlet in color, with a deep neckline and decorative braid on the sleeves. The background of the painting is dark blue, with minimal detail, which draws the viewer’s attention to the central figures.
Examination of the Art Object’s Medium/Technique/Process Used
The medium: oils on the panel.
The Technique or Process Used to Create the Work from Start to Finish
The painting is made of oils on a panel, which is a traditional medium commonly used in Renaissance art and a technique that can be characterized by the following process. The wooden panel is first prepared by coating it with a layer of gesso, providing a smooth and even surface for the paint to adhere to; the grid method can be used to transfer the composition drawing onto the panel (Cole). An underdrawing is then created, along with various materials, such as charcoal, pen, and ink. The underdrawing allows the artist to work on the proportions and placement of the figures before adding color (Fichner-Rathus). Layers of paint are added to the panel using a technique called glazing.
A technique called sfumato is also used, blending colors together to create a soft, hazy effect. This is particularly noticeable in the woman’s face, where the edges of her features are soft and blurry, creating a sense of depth and atmosphere. Adjustments and corrections can be made as necessary, which is facilitated by the slow drying process (Fichner-Rathus). Finally, the painting is left to dry completely before being varnished to protect the surface and deepen the colors.
Examination of the Art Object’s Composition
The Use of the Art Elements Found in the Art Object’s Composition
Line
The lines in this painting are executed in a fine and subtle manner, giving the composition a sense of delicacy. The flowing lines of the woman’s dress emphasize her slim figure and graceful stance. The ermine’s fur is depicted with short, swift brushstrokes, effectively conveying a sense of its texture and contrast to the painting. Subtle shifts are also employed in line weight and direction to create volume and space.
Shape
The painting is 54×39 and rectangular. However, it is dominated by curved shapes, such as the curves of the woman’s face and the contours of her dress.
Space
The use of the chiaroscuro technique allows da Vinci to create a three-dimensional illusion (Cole). The literal space in the painting is filled with the figure of the young woman, and the dark background helps to outline her. The overlapping of the figures, such as the woman’s hand, the ermine, and the woman herself, also helps to create depth.
Color
The predominant colors in the painting are earthy greens and browns, which are accompanied by delicate touches of gold and white. This combination of colors creates an effect of harmony, depth, and luminosity (Keshelava). The technique of glazing, where thin layers of paint are applied on top of each other, creates a rich and varied texture and adds complexity to the colors.
Texture
The sfumato technique used by da Vinci allowed the creation of naturalistic textures in the painting. The ermine’s fur and the woman’s right hand are two obvious examples. Both elements appear extremely realistic due to the masterful use of colors and brushstrokes.
Pattern
There are not many obvious patterns in the painting, but some elements do represent repetition and ornamented design. One example is the pattern in the decoration of the woman’s gown on the front. Her necklace is also an element that conveys pattern and repetition.
Time and Motion
Only the woman’s gowns and da Vinci’s painting style can arguably indicate the approximate time of the painting’s creation. Motion is evident in the way the woman looks to her right, as if distracted by or interested in something there. The ermine’s posture also conveys movement; it seems to have just turned its head to look at something.
The Use of the Art Principles found in the Art Object’s Composition
Balance
The balance in the painting is conveyed through the positioning of the woman and the ermine at the center of the composition, with their bodies creating a sense of equilibrium. The use of the grid method in the initial drawing likely contributed to the composition’s overall balance. Additionally, the subtle repetition of circular shapes throughout the painting adds to the sense of visual stability and balance.
Emphasis and Focal Point
The focal point is the young woman; the next object emphasized is the ermine. The main visual elements that draw the viewer’s attention to these objects are size, position, and colors. The woman holding the ermine is the painting’s largest and brightest object. Moreover, they are positioned in the center, and the background behind them is dark and empty.
Scale and Proportion
The woman’s hand is one element that can be considered in relation to scale and proportion. While it may seem too large compared to the ermine and the woman’s face, a detailed look shows how elegant it is, which also creates contrast.
Repetition and Rhythm
The woman’s necklace is the most obvious object that seems to create a repeating and rhythmic pattern. Dark beads and spacers create a sense of rhythm that draws the viewer’s eye along the length of the necklace. Its size and proportion to the woman’s neck are also in harmony, adding balance to the composition.
Unity and Variety
The painting achieves unity by using earthy greens and browns and a harmonious composition. It also includes variety by using various textures and hints of gold and white. The painting’s gentle rhythm and movement are created through repeating circular shapes. The balance of these elements creates a dynamic quality while maintaining cohesion.
Works Cited
Art in Context. ““Lady with an ermine” by Leonardo da Vinci – An in-depth analysis.”. 2022. Web.
Cole, Bruce. The Renaissance Artist At Work: From Pisano To Titian. Routledge, 2018.
Fichner-Rathus, Lois. Understanding Art. 11th ed., Cengage Learning, 2017.
Keshelava, Grigol. “Analysis of a “Lady with an Ermine” by Leonardo Da Vinci.” Advances in Historical Studies, vol. 10, no. 01, 2021, pp. 1-6.