伊莎贝拉·德斯特(Isabella d'Este)和 贝亚特丽斯·德斯特（Beatrice d'Este）姐妹

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贝亚特丽斯·德斯特（意大利语：Beatrice d'Este，1475年6月29日 - 1497年1月2日），米兰公爵夫人，费拉拉公爵埃尔科莱·德斯特之女，费拉拉公爵阿方索·德斯特和曼托瓦侯爵夫人伊莎贝拉·德斯特(Isabella d'Este )的妹妹，被认为是意大利文艺复兴时期最美丽、最有才艺的公主。贝亚特丽斯在15岁时成为后来的米兰公爵卢多维科·斯福尔扎(Ludovico Sforza)的未婚妻，1491年1月正式成婚。与其同时举行婚礼的还有其兄阿方索·德斯特和米兰公爵吉安·加莱亚佐·斯福尔扎之妹安娜·斯福尔扎。婚礼由莱奥纳尔多·达芬奇策划。贝亚特丽斯是米兰公爵马克西米利安·斯福尔扎和弗朗切斯科·斯福尔扎二世的母亲。1497年，在生育第三个孩子时，贝亚特丽斯因难产去世。贝亚特丽斯画像是 乔瓦尼·安布罗焦·德普雷迪斯(Giovanni Ambrogio de Predis)和莱奥纳尔多·达芬奇(Leonardo da Vinci)共同创作的。(http://zh.wikipedia.org/wiki/贝亚特丽斯·德斯特)

红菱小玉

红颜薄命

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伊莎贝拉·德斯特（意大利语：Isabella d'Este，1474年5月18日 - 1539年2月13日），曼托瓦侯爵夫人，费拉拉公爵埃尔科莱·德斯特之女，米兰公爵夫人贝亚特丽斯·德斯特(Beatrice d'Este )的姐姐。
Isabella d’Este wanted to have the best possible portrait of herself painted, sculpted, or struck on a coin. In 1498, she determined to surround herself with the most eminent contemporary artists and find the best portrait painter, one who could produce a perfect imitation of nature; her choice fell on Leonardo da Vinci. When in Venice, Leonardo da Vinci showed his portrait of Isabella to his friend Lorenzo da Pavia, who wrote to the Marchesa on March 13, 1500: "Leonardo da Vinci is in Venice, he has shown me a portrait of Your Ladyship that is very lifelike. It is very well done and could not possibly be better." Despite Isabella’s insistence, the painting was never done.
In his sketch, Leonardo used various pigments (sanguine and chalk), different tones of black, and finely hatched and smudged red and yellow ochre to obtain the passage from light to shadow on the face and hair. Contrary to claims by Vallardi and almost all subsequent authors, there are no traces of pastel. A very pale white applied to the bosom (covered by a piece of lace called a “modesty piece”), the forehead, and the cheek, accentuates the slant of the shoulders and the shadow of the neck.
Though unfinished, this sketch is remarkable for its proportions, and for the foreshortening of the bust; it is also striking for the ambiguous choice of pose. The perfectly linear profile, eyes gazing beyond our field of vision, contrasts with the turn of the body. The portrait in profile may have been the choice of the Marchesa herself, who was thus portrayed on the bronze medal made by Gian Cristoforo Romano in 1497-1498. The clear-cut profile of the face, its use of space, the slant of the turning shoulders, the attention paid to the folded hands and the finger pointing to the book are all touches that distinguish this work from the Portrait of Cecilia Gallerani (1489-1491, Cracow, Czartoryski Museum) and from the Portrait of an Unknown Woman (c. 1495-1500, Paris, Musée du Louvre). This portrait of Isabella d’Este can be seen as the fruition of Leonardo’s experimentation since the 1490s, and a preview of what was about to follow: the cartoon of the Virgin and St Anne (London, National Gallery), and the Mona Lisa (Paris, Musée du Louvre). The portraits of Isabella d’Este and the Mona Lisa seem to represent Leonardo’s "progressive idealization of the portrait"—in other words, his attempt to create portraits that were lifelike yet of a perfection related to universal beauty. (http://www.louvre.fr/llv/oeuvres ... x=0&bmLocale=en)