Woman Holding an Apple

c. 1550

Titian

Painter, Venetian, 1488/1490 - 1576

Shown from about the hips up against a sable-brown background, a pale-skinned woman stands cradling an apple with both hands at her waist in this vertical portrait painting. Her body and face are angled to our left but she looks out at us from the corners of her eyes. She has dark brown eyes under curving brows, a straight nose, smooth cheeks, and her coral-red, heart-shaped lips are closed. A crown of parchment-white and rust-orange flowers with sage-green and brown leaves sits akimbo, close to the ear we can see, over her honey-brown hair, which falls over her shoulders and down her back to her waist. Teardrop-shaped pearls hang from her ears. She wears a sea-green gown with elbow-length sleeves over an eggshell-white garment, which has voluminous sleeves edged with gold. The green garment is lined with pearls, jewels, and gold embroidery around the hem of the sleeves and down the front. The muted red apple rests in one hand, which is cupped in her other hand at her waist. The woman is lit from our left in a warm glow against the brown background.

Media Options

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A striking young woman—with loose, untied hair and sleeves and a richly jeweled but informal gown—returns the viewer’s gaze. In her time, a viewer would have seen her as being in a state of semiundress. She cradles an apple in her hands, which in art often connotes female sexuality.

Despite the painting’s portraitlike format, Titian probably did not depict a specific person here. He and other Venetian artists of the day painted many pictures representing beautiful young women, but it is often unclear whether such pictures are meant to be recognizable portraits of members of contemporary society or idealized images of anonymous beauties. Although the images may reflect Venetian courtesan culture of the period, there is no evidence that real courtesans had themselves portrayed in this way. Rather, such pictures may be interpreted as fanciful portrayals of female beauty, designed to appeal to the eyes of the painting’s owner.

On View

West Building Main Floor, Gallery 23


Artwork overview

  • Medium

    oil on canvas

  • Credit Line

    Samuel H. Kress Collection

  • Dimensions

    overall: 97.8 × 73.8 cm (38 1/2 × 29 1/16 in.)
    framed: 123 x 99.4 x 9.8 cm (48 7/16 x 39 1/8 x 3 7/8 in.)

  • Accession

    1939.1.292

More About this Artwork


Artwork history & notes

Provenance

Probably Michel Particelli d'Hémery [1596-1650], Paris; by inheritance to his son-in-law, Louis Phélypeaux de La Vrillière [1599-1681].[1] George Wilbraham, M.P. [1779-1852], Delamere House, near Northwich, Cheshire, by 1829;[2] probably by inheritance to his son, George Fortescue Wilbraham [1815-1885], Delamere House, by 1883;[3] probably by inheritance to his son, Major Hugh Edward Wilbraham, M.B.E. [1857-1930], Delamere House, by 1914;[4] purchased January 1929 by (Duveen Brothers, Inc., London, New York, and Paris);[5] sold 1938 to the Samuel H. Kress Foundation, New York;[6] gift 1939 to NGA.
[1] As first pointed out by Christel Haffner in an unpublished dissertation of 1983, the picture is almost certainly identical with one listed as item 66 in the posthumous inventory (1650) of Particelli, Superintendent of Finance under Louis XIV of France: “Item une autre tableau du Tissien representant une dame venitienne plus qu’à demy corps tenant une grenade” (Another picture by Titian, representing a Venetian woman holding a pomegranate, longer than half-length). When it was inherited soon afterwards by La Vrillière, it was described as “portrait d’une femme tenant une pomme en ses mains ayant une guirlande de fleurs su sa tête” (portrait of a woman holding an apple in her hands, and with a garland of flowers on her head). See Mickaël Szanto, “Venise, Reni et la romanité. La collection de tableaux de Michel Particelli d’Hémery (1650),” in Venise & Paris 1500–1700: La peinture vénitienne de la Renaissance et sa réception en France, ed. Michel Hochmann, Geneva, 2011: 224, 259, 274.
[2] The painting was lent by G. Wilbraham to an exhibition at the British Institution in 1829.
[3] The painting was lent by G.F. Wilbraham to an exhibition at the Royal Academy in 1883.
[4] The painting was lent by H.E. Wilbraham to an exhibition at the Burlington Fine Arts Club in 1914.
[5] The painting was seen at Wilbraham's by Duveen agents in 1927, per the Duveen "Scout book," but at that time Wilbraham indicated he was not interested in selling his pictures. He had changed his mind by October 1928, and received the court order necessary to make the sale on 14 January 1929 (Duveen Brothers Records, accession number 960015, Research Library, Getty Research Institute, Los Angeles: Series I.D, General business records, reel 71, box 201: Scouts' books, folder 1: England, "Things seen"; Series II.A, Files regarding works of art, reel 150, box 295: Titian, folder 18: Titian, "Portrait of a Lady," ex H.E. Wilbraham; Series II.A, Files regarding works of art, reel 158, box 303: Weyden, van der - Zurbaran, folder 7: Wilbraham Collection; copies in NGA curatorial files).
[6] Duveen Brothers Records, accession number 960015, Research Library, Getty Research Institute, Los Angeles: Series I.D, General business records, reel 54, box 151:
House invoices, 1935-1944; copy in NGA curatorial files. See also The Kress Collection Digital Archive, https://kress.nga.gov/Detail/objects/1673.

Associated Names

Exhibition History

1829

  • British Institution, London, 1829, no. 161, as Titian's Daughter.

1883

  • Exhibition of Works by the Old Masters and by Deceased Masters of the British School; including a special selection from the works of John Linnell and Dante Gabriel Rossetti. Winter Exhibition, Royal Academy of Arts, London, 1883, no. 191, as Caterina Cornaro, Queen of Cyprus.

1915

  • The Venetian School. Pictures by Titian and his Contemporaries, Burlington Fine Arts Club, London, 1915, no. 19, pl. XII.

1939

  • Masterpieces of Art. European Paintings and Sculpture from 1300-1800, New York World's Fair, 1939, no. 383.

1940

  • Italian Renaissance Portraits, M. Knoedler & Co., New York, 1940, no. 21, repro., as Presumed to be Portrait of Giulia di Gonzago-Colonna, Duchess of Trajetto.

1996

  • Obras Maestras de la National Gallery of Art de Washington, Museo Nacional de Antropología, Mexico City, 1996-1997, unnumbered catalogue, color repro.

1999

  • Masterpieces from the National Gallery of Art, Washington, Kyoto Municipal Museum of Art; Tokyo Metropolitan Art Museum, 1999, no. 78, repro.

2017

  • Der Poesie der venezianischen Malerei: Paris Bordone, Palma il Vecchio, Lorenzo Lotto, Tizian, Hamburger Kunsthalle, 2017, no. 54, repro.

Bibliography

1924

  • Fischel, Oskar. Tizian: Des Meisters Gemälde. 5th ed. Stuttgart, 1924: 318 no. 176.

1931

  • Hadeln, Detlev von. “Das Problem der Lavinia-Bildnisse.” Pantheon 7 (1931): 86.

1933

  • Suida, Wilhelm. Tizian. Zürich and Leipzig, 1933: 109, 168.

1940

  • Frankfurter, Alfred M. "Great Renaissance Portraits: A Unique Exhibition of Twenty-five Italian Masterpieces." Art News (March 16, 1940): 7-9, 21.

  • Suida, Wilhelm. "Die Sammlung Kress: New York." Pantheon 26 (1940): 278, 280.

1941

  • Duveen Brothers. Duveen Pictures in Public Collections of America. New York, 1941: nos. 155-157, repros., as Portrait of Giulia di Gonzaga-Colonna [Presumed].

  • Preliminary Catalogue of Paintings and Sculpture. National Gallery of Art, Washington, 1941: 197-198, no. 403, as Portrait of a Lady (Giulia di Gonzaga-Colonna ?).

1942

  • Book of Illustrations. National Gallery of Art, Washington, 1942: 247, repro. 198, as Portrait of a Lady (Giulia di Gonzaga-Colonna ?).

1944

  • Frankfurter, Alfred M. The Kress Collection in the National Gallery. New York, 1944: 53, repro.

1945

  • Paintings and Sculpture from the Kress Collection. National Gallery of Art, Washington, 1945 (reprinted 1947, 1949): 125, repro.

1959

  • Paintings and Sculpture from the Samuel H. Kress Collection. National Gallery of Art, Washington, 1959: 194, repro.

  • Morassi, Antonio. “Titian.” In Encyclopedia of World Art. 17+ vols. London, 1959+: 14(1967):col. 146.

1960

  • Valcanover, Francesco. Tutta la pittura di Tiziano. 2 vols. Milan, 1960: 2:69 no. 165.

1965

  • Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 129.

1968

  • National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 117, repro.

  • Shapley, Fern Rusk. Paintings from the Samuel H. Kress Collection: Italian Schools, XV-XVI Century. London, 1968: 186-187, fig. 435.

1969

  • Pallucchini, Rodolfo. Tiziano. 2 vols. Florence, 1969: 1:137, 301.

  • Valcanover, Francesco. L’opera completa di Tiziano. Milan, 1969: 124.

  • Wethey, Harold. The Paintings of Titian. 3 vols. London, 1969-1975: 2(1971):186-187.

1972

  • Fredericksen, Burton B., and Federico Zeri. Census of Pre-Nineteenth Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972: 203, 531, 646.

1975

  • European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 344, repro.

  • Walker, John. National Gallery of Art, Washington. New York, 1975: no. 260.

1979

  • Shapley, Fern Rusk. Catalogue of the Italian Paintings. 2 vols. National Gallery of Art, Washington, 1979: 1:495-496; 2:pl. 349, as Attributed to Titian.

1984

  • Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 210, no. 254, color repro.

1985

  • European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 395, repro.

1999

  • Valcanover, Francesco. Tiziano: I suoi pennelli sempre partorirono espressioni di vita. Florence, 1999: 267.

2007

  • Humfrey, Peter. Titian: The Complete Paintings. Ghent and New York, 2007: 284.

2009

  • Tagliaferro, Giorgio, and Bernard Aikema, with Matteo Mancini and Andrew John. Le botteghe di Tiziano. Florence, 2009: 266-267.

2011

  • Szanto, Mickaël. “Venise, Reni et la romanité. La collection de tableaux de Michel Particelli d’Hémery (1650).” In Venise & Paris 1500–1700: La peinture vénitienne de la Renaissance et sa réception en France. Edited by Michel Hochmann. Geneva, 2011: 224, 259, 274.

2014

  • Joannides, Paul, and Rupert Featherstone. “A Painting by Titian from the Spanish Royal Collection at Apsley House, London.” Hamilton Kerr Institute Bulletin 5 (2014): 68, 72-73.

2017

  • Serres, Karen. "Duveen's Italian framemaker, Ferruccio Vannoni." The Burlington Magazine 159, no. 1370 (May 2017): 374 n. 45.

  • Luchs, Alison. “The Little Dancer in Wax and Words: Reading a Sonnet by Edgar Degas.” In Degas, Daphne Barbour and Suzanne Quillen Lomax, eds. Facture. Conservation, Science, Art History 3 (2017): 167-168, fig. 14.

Wikidata ID

Q20176536


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