Who painted Portrait of a Woman, Possibly a Novice of San Secondo?

Portrait of a Woman, Possibly a Novice of San Secondo was painted by Jacometto Veneziano in 1490.

Where can I see Portrait of a Woman, Possibly a Novice of San Secondo?

Portrait of a Woman, Possibly a Novice of San Secondo is held by Cleveland Museum of Art.

What movement is Portrait of a Woman, Possibly a Novice of San Secondo?

Portrait of a Woman, Possibly a Novice of San Secondo is associated with Early Renaissance.

Artwork

Portrait of a Woman, Possibly a Novice of San Secondo

Jacometto Veneziano , 1490

Portrait of a Woman, Possibly a Novice of San Secondo is an unspecified painting by the Early Renaissance artist Jacometto Veneziano. It dates from 1490 and is held in the collection of the Cleveland Museum of Art.

Accession no.: 1976.9
Credit line: Mr. and Mrs. William H. Marlatt Fund

About this work

Overview

The work, titled Portrait of a Woman, Possibly a Novice of San Secondo, is a small oil painting attributed to Jacometto Veneziano. It depicts a young woman in refined attire, her dark dress and white head covering contrasting with a neutral backdrop. One hand holds a folded sheet of paper, emphasizing the sitter’s poised demeanor.

Subject & Meaning

Earlier scholarship identified the figure as a nun, a view that persisted from the mid‑16th century. Recent analysis, however, suggests the sitter may be a secular noblewoman, perhaps the wife or daughter of the Venetian patrician Alvise Contarini, presented with saintly attributes common in portraiture of the period.

Technique & Style

Jacometto’s characteristic precision is evident in the crisp rendering of fabric and delicate modeling of the face. The painting’s limited palette and smooth, almost tactile folds of the dark dress demonstrate the artist’s skill in conveying texture within a compact format, typical of his portraiture.

History & Provenance

The identification of the subject as a nun originated in a 1543 catalogue entry and was accepted for centuries. Re‑examination of the garment, especially the head covering, alongside records of the San Secondo convent, once a residence for elite Venetian daughters, has prompted a reassessment of the sitter’s identity and the work’s provenance.