Portrait of a Young Girl

Painting and Sculpture of Europe

1633/35

Attributed to Pieter Dubordieu
Dutch, 1609/10–after 1678

This hauntingly simple and direct portrait of a young girl has been attributed to Pieter Dubordieu, a portrait painter who worked in Leiden, but was born in the French-speaking part of the ancient province of Flanders. The attribution to him is based on a comparison to two slightly later signed-and-dated portraits of women in the Rijksmuseum, Amsterdam, that share the same direct, solemn gaze, crisp silhouetting of the figure, and strong pattern of light and dark.

Status: Currently Off View
Department: Painting and Sculpture of Europe

Artist: Pieter Dubordieu
Title: Portrait of a Young Girl
Place: Netherlands (Artist's nationality:)
Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.: 1633–1635
Medium: Oil on panel
Dimensions: 58.6 × 49.8 cm (23 1/16 × 19 5/8 in.)
Credit Line: Wilson L. Mead Fund
Reference Number: 1934.386
IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.: https://api.artic.edu/api/v1/artworks/20887/manifest.json

E. Plietzsch, “Ausstellung von Werken alter Kunst aus Berliner Privatbesitz,” Der Cicerone 7 (1915), pp. 204, 205–207, fig. 4.
W. Martin, “Some Portraits by Pieter Dubordieu,” Burlington Magazine 41 (1922), p. 218, fig. D.
L. Fröhlich-Bum, “Die Sammlung Auspitz-Wien,” Pantheon: The Cicerone 10(1932), p. 399.
Hans Tietze, Meisterwerke Europäischer Malerei in Amerika (Vienna, 1935), pp. 251, 342, no. 251a, ill; translated (New York, 1939).
“17th Century Canvas by Dubordieu is Sold,” New York Times (January 16, 1935), p. 15.
“Dubordieu Work Goes to Chicago,” Art News 33, pt. 1 (1935), p. 1.
Art Institute of Chicago, Report of the Year 1934 (Chicago, 1935), pp. 20, 34, ill.
Daniel Catton Rich, “A Franco-Dutch Portrait,” Bulletin of the Art Institute of Chicago 29, 1 (1935), pp. 2–4, cover ill.
Coronet 1, 1 (1936), cover ill.
“Robert B. Harshe,” Bulletin of the Art Institute of Chicago 32 (1938), p. 51, ill.
Art Institute of Chicago, A Brief Illustrated Guide to the Collections (Chicago, 1935), p. 26
Art Institute of Chicago, A Brief Illustrated Guide to the Collections (Chicago, 1941), p. 32.
Art Institute of Chicago, An Illustrated Guide to the Collections of the Art Institute (Chicago, 1945), p. 34.
Art Institute of Chicago, An Illustrated Guide to the Collections of The Art Institute of Chicago (Chicago, 1948), p. 31.
“Chicago Asks Which is Real? You Answer,” Art Digest 25, 9 (1951), p. 12, ill.
Art Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), pp. 131, 191, ill.
Susan Wise, “European Portraits 1600–1900,” Bulletin of the Art Institute of Chicago 72, 4 (1978), pp. 16–17, ill.
Peter C. Sutton, A Guide to Dutch Art in America (Washington D.C. and Grand Rapids, 1986), p. 51.
Elizabeth Rodini, “The Language of Stones,” Art Institute of Chicago Museum Studies 25, 2 (2000), p. 19, fig. 5.
Sophie Lille, Was einmal war: Handbuch der enteigneten Kunstsammlungen Wiens (Vienna, 2003), p. 117.

Berlin, Paul Cassirer, Ausstellung von Werken alter Kunst aus Berliner Privatbesitz, May–June 1915, cat. 85.
Art Institute of Chicago, European Portraits 1600–1900, July 8–September 11, 1978, no. 3.

Private Collection, Berlin, by 1915 [according to Berlin 1915]. Stephan von Auspitz, Vienna, by 1922 [see Martin 1922]. Bachstitz Gallery Inc., New York, by 1932 [according to a letter of July 25, 1977 from Nancy C. Little of Knoedler to Susan Wise dated July 25, 1977, in curatorial file]; sold to M. Knoedler & Co., New York, 1932 [Knoedler no. A 1396; number and date according to the letter cited above]; sold to the Art Institute, 1934.

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Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

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Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

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IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world.

Learn more.