Active in Rembrandt’s studio when he made this painting, Flinck may have used the master’s young bride Saskia as his model. Yet the fantastic ornamentation—including the prominent pearls, the diaphanous gold and blue veil, and the exotic headgear—as well as the half-shadowed face and the averted gaze demonstrate this to be a tronie, a study of a figure involving theatrical manipulations of light, costume, and even facial expression. Several related paintings from Rembrandt’s studio exist today. The signature at lower right reflects that Rembrandt sold work by Flinck under his own branded name—a fact reported by an early 18th-century biography of Flinck.
Provenance research is on-going at the Indianapolis Museum of Art at Newfields. Please contact Annette Schlagenhauff, Curator of European Art, at firstname.lastname@example.org if you have questions, or if you have additional information to share with us.