Robert Peake – Portrait of a Woman, Traditionally Identified as Mary Clopton (born Waldegrave), of Kentwell Hall
c.1600. 114×88
Location: Yale Center for British Art, Paul Mellon Collection, New Haven.
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The most striking element is undoubtedly the woman’s dress. It consists of a heavily embroidered bodice and skirt in black and white, featuring a dense pattern of stylized floral motifs. This intricate design suggests wealth and status; such elaborate textiles would have been costly to produce and import. The sleeves are puffed and gathered at the wrist, characteristic of the periods fashion trends. A large ruff encircles her neck, constructed from layers of stiffened linen, further emphasizing her social standing.
Around her neck hangs a substantial string of pearls, a common symbol of purity and wealth in portraiture of this era. A single red rose is pinned to her bodice, potentially carrying symbolic weight – roses were often associated with love, beauty, or even political affiliations (the Tudor dynasty adopted the rose as a heraldic emblem). The subject’s hands are delicately rendered; she wears a ring on her left hand, indicating marital status.
Her hair is styled in a fashionable manner, pulled back from the face and adorned with small jewels. The lighting highlights her complexion, emphasizing the smoothness of her skin and the subtle curve of her lips. Theres an intentional softness to the features, suggesting an idealization rather than a strictly realistic depiction.
Subtly, the painting conveys messages about lineage, prosperity, and marital status – all crucial aspects of identity for women in this period. The dark background serves not only as contrast but also potentially hints at the complexities or burdens associated with her position within society. The overall effect is one of restrained elegance and quiet confidence, designed to project an image of respectability and social importance.