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Lost in Plain Sight, the Often Unseen Language of Fine Art

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Lost in Plain Sight, the Often Unseen Language of Fine Art
A detail of “Lady With an Ermine (Portrait of Cecilia Gallerani),” circa 1490, by Leonardo da Vinci. Oil and distemper (paint that uses vegetable glue or animal glue, but not egg, as a binder) on panel; 21 inches by 15 1/2 inches. National Museum, Krakow, Poland. Public Domain
Lorraine Ferrier
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Without knowing the language of Renaissance art or the customs and etiquette of the day, anyone viewing Leonardo da Vinci’s painting “Lady With an Ermine (Portrait of Cecilia Gallerani)” might find it a little odd. It’s of a lady embracing a stoat (an ermine).

In its time, Leonardo’s portrait of Gallerani spoke volumes without uttering a word. Instead of syntax, Renaissance painters like Leonardo carefully strung a series of motifs together that portrayed their subjects’ status, character, and virtues. Renaissance viewers recognized this visual language of art, regardless of the language they spoke.

Lorraine Ferrier
Lorraine Ferrier
Author
Lorraine Ferrier writes about fine arts and craftsmanship for The Epoch Times. She focuses on artists and artisans, primarily in North America and Europe, who imbue their works with beauty and traditional values. She's especially interested in giving a voice to the rare and lesser-known arts and crafts, in the hope that we can preserve our traditional art heritage. She lives and writes in a London suburb, in England.
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