Portrait of a Young Woman

Lorenzo di Credi’s Portrait of a Young Woman can be interpreted as a thoughtful exploration of female identity, virtue and individuality in Renaissance Florence. The young woman is turned toward the viewer, establishing a more direct and personal contact, as opposed to the stiff profile portraits typical of earlier Florentine portraiture. Her calm face, her composed demeanour, speak of dignity and self possession, not of any desire to openly display emotion. The visible hands are important not least because they contribute to making the figure feel more complete and human, but also draw attention to the sitter’s social and personal identity. The juniper behind her is more than just scenery. Its association with the Italian word for juniper, ginepro, may be a reference to the name Ginevra, and the plant may also connote virtue and purity. On the back, an inscription identifies the sitter as Ginevra d’Amerigo de’ Benci, although this identification has been questioned. The portrait is particularly interesting when compared with Leonardo da Vinci’s Ginevra de’ Benci, which seems to have influenced Credi’s composition. Credi accepts the idea of showing a woman in three-quarter length against a natural setting but gives the figure a more muted and controlled presence. The painting thus articulates the Renaissance concern to represent not only physical likeness but also the character, dignity and social identity of the individual.