Marcus Gheeraerts II, Portrait of a Woman in Red, 1561–1636, 45 x 35 in., oil paint on oak, Tate Collection.
The female portrait has frequently been used to communicate supplementary messages – a vessel by which a man can express artistic talent, commissioner affluence, or institutional power. This unknown, regally arranged woman with her expansive belly is used as visual evidence of anticipated dynastic success. Marcus Gheeraerts II, one of the most prominent artists creating the briefly fashionable pregnancy portraits, painted royalty exaggerated by the confirmation of heirs. These portraits also served to record a beloved wife before the anticipated death in childbirth.The lush decor, elegant garb, and abundance of red are all indicative of affluence and power. The red, however, also illustrates the danger and blood associated with the violence of birth. Many historically exemplary qualities are seen through this visual record of dynasty. The woman’s pale skin is accentuated through the black ribbon on her wrist, and her wealth is flaunted through her intricate headdress and thick string of pearls. While the woman is adorned in finery, Gheeraerts also stresses her anxiety. Her nervous expression and paleness could be representative of anticipated danger in childbirth. Joy and anxiety, the feelings felt by any pregnant woman then and now, mingle to create an image with lasting relevance.