Where can I see Le Zendale (Woman in a Hood, or the Woman Returning from Church)?

Le Zendale (Woman in a Hood, or the Woman Returning from Church) is held by National Gallery of Art.

What movement is Le Zendale (Woman in a Hood, or the Woman Returning from Church)?

Le Zendale (Woman in a Hood, or the Woman Returning from Church) is associated with Romanticism.

Can I buy a print of Le Zendale (Woman in a Hood, or the Woman Returning from Church)?

Museum-quality prints of Le Zendale (Woman in a Hood, or the Woman Returning from Church) are available made-to-order from Artifact World Gallery.

Artwork

Le Zendale (Woman in a Hood, or the Woman Returning from Church)

Giovanni David , 1775

Le Zendale (Woman in a Hood, or the Woman Returning from Church) is an ink print by the Romanticist artist Giovanni David. It dates from 1775 and is held in the collection of the National Gallery of Art.

Inscription: Inscribed:lower left in plate: David Gen. Inv. fecit; lower center in plate: le Zendale / Ou la Femme, qui revient de l'Eglise / Atten donc, et permets que je prèche à mon tour Boil. Sat. 10.
Markings: Marked:none

About this work

Overview

Giovanni David’s 1775 etching, titled Le Zendale (also known as Woman in a Hood or the Woman Returning from Church), presents a solitary figure in a long, flowing robe with a hood covering her head. She walks barefoot, clutching a staff, while a small dog trails behind her, and a distant church with spires and a dome looms in the background.

Subject & Meaning

The composition suggests a moment of quiet return, possibly after a religious service, as implied by the title. The woman’s modest attire and the presence of the church reinforce a theme of piety, while the accompanying dog adds a domestic, everyday element to the scene.

Technique & Style

David employed the etching process on laid paper, using fine, delicate lines to model light and shadow. The subtle gradations give the image a soft, atmospheric quality, allowing details such as the texture of the robe and the architectural features of the church to emerge without harsh contrast.

History & Provenance

Created in 1775, the print reflects David’s engagement with the popular 18th‑century genre of narrative etchings. It has been documented in several collections of European prints, though specific ownership records prior to the modern era remain limited.

Context

The work belongs to a period when prints served both as illustrations of everyday life and as moralizing images. The inclusion of religious architecture and a humble figure aligns with contemporary interests in depicting moral virtue through ordinary scenes.