The Renaissance - The Woman, The Weasel, and its Connection to Humanism

 

The artwork produced from the Renaissance Period is well known to those with even the slightest interest in art. Renaissance art has completely transformed the history of art as we know it, particularly in the rise of humanism. The artists Michelangelo, Donatello, and Botticelli are recognizable names; however, no name is more widely known than that of Leonardo Da Vinci. When one thinks of Renaissance artwork, Mona Lisa (1503), and Last Supper (1495) immediately come to mind. These pieces have this strong grasp on our modern-day society over 500 years later and are not expected to release anytime soon. Before the creation of these famous pieces of art at the hands of Da Vinci, came Lady with an Ermine (1489-1490).

Lady with an Ermine, 1489-1490.

This piece stands out amongst the Renaissance era: while it does coincide with that goal of realism, it differs in that there is this sense of simplism. The work is not overwhelming to the eye, and rather than having multiple focal points across a large plain, the focal point is narrowed to just the woman and her ermine. It is important to note, however, that the original creation from Da Vinci has been altered dramatically. The background has been painted over to its current muted shade, and her veil was painted over to blend with the rich tones of her hair. These touch-ups by an unknown restorer during the 17th century not only transformed the image of the painting, but the mood it releases. Regardless of the changes, the artistic genius of Da Vinci still makes one of the most influential works to be birthed from the Italian Renaissance. 

The subject of the painting is Cecilia Gallerani, the mistress of the duke of Milan at the time, Lodovico Sforza. Gallerani was just 16 years old when she became the subject of this work and was labeled to be the Duke's favorite mistress. The duke was a patron of Da Vinci as he was in service of Sforza during his reign. The artist dedicated his work to the leader that supported him. It is through his artistic elements that Da Vinci creates a piece that his patron would be proud to support. Her youth is captured in this still piece with the smooth textures across her porcelain skin. Very little detail is added to just further execute an unwrinkled complexion. Her eyes match this implementation with textures that just glide, indicating her youthfulness.  Similarly, the hand grasping the animal has a texture of calm water: smooth and ripple-free. Additionally, these smooth textures further enhance the purity and feminity of Gallerani, much as she was viewed in the eyes of her lover Sforza. 

Value plays a large role in the enhancement of the piece. The shading work of Da Vinci creates a true sector of realism and makes the painting feel life-like so that at any moment, her eyes could make eye contact with the audience, and her hands reach out through the canvas. The utilization of chiaroscuro that Da Vinci has perfected is ever-so-prevalent in the work of the young female. The use of contrasts of the light and dark shades is what gives the three-dimensional piece that seems as though it could walk out of the frame at any moment. The depth that the shading creates when peering at the porcelain skin in contrast with the dark shadows casting across the figure truly illustrates value at its finest.

These elements work together to create a calm emotion behind the work. The expression of Gallerani gives the audience a moment of ease as they look at her gaze. The posture of the young woman gives a level of comfort as she is sitting with ease as her hands lightly grasp her white ermine. Additionally, symbolism is plentiful in the work. Regardless of the subject being that of Cecilia Gallerani, the work withholds an underlying meaning that connects back to Da Vinci and Sforza's work relationship. To offer respect to his patron, Da Vinci utilized the ermine to provide this invisible representation of Sforza. This animal offers a personal heraldic emblem to the Duke of Milan. Sforza was well known under the nickname, "the white ermine" due to his affiliation with the Order of the Ermine, a chivalric order created in 1464 by king Ferdinand I of Naples. Furthermore, the mammal that Da Vinci illustrated was larger and differed from the artist's goal of creating accurate, realistic imagery. This error, however, is no mistake. Rather, Da Vinci purposefully largened the ermine to further represent Sforza, as if to indicate that the Duke was grander than all.

Leonardo Da Vinci was an innovator in the movement of humanism during the Italian Renaissance, ultimately spreading this practice across Western Europe. Not only did his work portray the humanist approach, but he made this a part of his lifestyle. Da Vinci is well known for his love and fascination of life. He consistently strived to better the lives of those around him, including wildlife. Whether it was from greeting every individual he met respectively and with a kind smile, to paying abnormal prices for a bird just to release them from the confines of their cage, his caring practices followed him. Da Vinci's connection to life was truly notable in his consistent acts of putting human life first. 

This adoration became apparent in his studies with his work symbolizing this philosophy of humanism, as he began to drift from creating works characterized by religion, and rather focused solely on the human in front of him. His portraits display what it is to be human, particularly in Lady with an Ermine. Reflecting back on the elemental use of value, Da Vinci practiced the technique of chiaroscuro, in which he strived to use high levels of contrasts to create as life-like of an image as possible. Da Vinci wanted the audience to see the subject just as he sees it with his own eyes, in that moment. Every small detail were added to further bring out this life-like human, from the bright glimpse in her eyes, to the prominent knuckles across her hand. The porcelain complexion of Gallerani is made the focal point against the contrasting background, highlighting her facial features and expression. Every detail is simple as depicted in her tunic, reflecting a typical style with common tones of color. The simplicity of the piece only exentuates the expression of the young woman. Her jewelry is muted, not implicating her wealth whatsoever, further putting the life of Gallerani before material goods. It is details like this that make the work of Leonardo Da Vinci truly remarkable, and further displays how his humanist approach transformed the meaning behind art. 

References

“Lady with an Ermine (C.1490).” Lady with an Ermine, Leonardo Da Vinci: Interpretation, Analysis, http://www.visual-arts-cork.com/famous-paintings/lady-with-an-ermine.htm.

Muñoz-Alonso, Lorena. “Da Vinci's Lady with an Ermine Finally Revealed.” Artnet News, 7 July 2021, https://news.artnet.com/art-world/secrets-of-da-vincis-lady-with-an-ermine-finally-revealed-117891.

Cole, Margherita. “Exploring 'Lady with an Ermine,' an Oft-Forgotten Renaissance Portrait by Leonardo Da Vinci.” My Modern Met, 6 July 2021, https://mymodernmet.com/leonardo-da-vinci-lady-with-an-ermine-painting/#:~:text=Additionally%2C%20the%20ermine%20has%20significance,painting%20confirms%20their%20romantic%20relationship.

“Italian Renaissance- Lady with the Ermine, Humanism.” Casample, 24 Sept. 2015, https://casample.wordpress.com/2015/09/24/italian-renaissance-lady-with-the-ermine-humanism/.

“Renaissance Humanism - Modern Art Terms and Concepts.” The Art Story, https://www.theartstory.org/definition/renaissance-humanism/.