Isabella d’Este and the Problem of the Perfect Portrait

Image: Peter Paul Rubens, Public domain, via Wikimedia Commons

Isabella d’Este was one of the most influential women of the Italian Renaissance. As the Marchioness of Mantua, she carefully managed her public image through fashion, collecting, political relationships, and works ofart. Finding an artist who could produce a portrait she actually liked, however, proved surprisingly difficult.

In 1493, Isabella arranged to exchange portraits with the countess of Acerra. Andrea Mantegna, the official painter at the Mantuan court, created Isabella’s portrait. She was not impressed. Isabella complained that the painting was poorly executed and did not resemble her at all (Nelson & Zeckhauser, 2021).

Mantegna was not the only artist who disappointed her. Isabella accepted another portrait by Giovanni Santi but again complained that the likeness was poor. When a third artist portrayed her, Isabella objected that the painting made her appear heavier than she believed she was. Ludovico Sforza disagreed. He reportedly thought the portrait resembled Isabella as he remembered her, although he cautiously added that she might have gained weight since they had last met (Nelson & Zeckhauser, 2021).

Eventually, Isabella found a portrait she approved of, even though the artist had never met her.

Francesco Francia created the painting using another portrait and a written description. Isabella praised Francia for making her appear far more beautiful than she was in real life. She still requested one improvement. She wanted him to make her eyes slightly lighter.

Years later, Isabella gave this flattering portrait to Titian to use as the model for another painting. She admitted that Titian’s version was so beautiful that she doubted she had ever looked that attractive, even when she was younger (Nelson & Zeckhauser, 2021).

Isabella did not simply want an exact record of her appearance. She wanted a portrait that remained recognizable while presenting the most flattering possible version of herself. Renaissance artists were expected to balance realism with idealization, and Isabella was not afraid to say when that balance did not favor her.

Further Reading

Nelson, J. K., & Zeckhauser, R. J. (2021). Italian Renaissance portraits that disappoint: Isabella

d’Este, Francesco del Giocondo, and other displeased patrons. Mitteilungen des

Kunsthistorischen Institutes in Florenz, 63(1), 14–31.