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Procession of Souls | Louis Welden Hawkins | 1890

Procession of Souls | Louis Welden Hawkins | 1890

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About the artwork:

Procession of Souls is a symbolist painting by Louis Welden Hawkins, created around 1890, during a period when European artists were increasingly turning away from realism in favor of psychological and spiritual themes. The work presents a silent, almost ritualistic movement of figures that appear detached from the physical world, suggesting a collective passage between life and death rather than a literal religious scene. Hawkins was closely connected to Symbolism and the Nabis circle, and his interest lay in inner states of being, memory, and the unseen forces shaping human existence. In this painting, individuality dissolves into a shared destiny, reinforcing the Symbolist belief that art should evoke ideas and emotions rather than describe reality. The restrained palette and simplified forms contribute to a meditative atmosphere, aligning the work with late nineteenth century anxieties about mortality, transcendence, and the limits of rational thought, themes that were central to Symbolist art at the fin de siècle.

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  • Title Portrait of Ginevra de' Benci (Ritratto di Ginevra de' Benci)
  • Artist Leonardo da Vinci (Italian High Renaissance polymath — painter, draughtsman, sculptor, architect, scientist, anatomist, engineer, inventor; Vinci, Florentine Republic, 15 April 1452 - Amboise, Kingdom of France, 2 May 1519; pupil of Andrea del Verrocchio in Florence c. 1466-1476)
  • Year of creation c. 1474-1478 (one of Leonardo's earliest known portraits, painted in his mid-twenties in Florence in the workshop of Andrea del Verrocchio just before his independent career began. The sitter is Ginevra de' Benci, born 1457, daughter of the wealthy Florentine banker Amerigo de' Benci — a friend of Marsilio Ficino. The portrait was traditionally identified as commissioned to mark Ginevra's marriage in January 1474, at the age of sixteen, to the considerably older Florentine cloth merchant Luigi Niccolini, but a more widely accepted modern view links it instead to her platonic admirer the Venetian ambassador to Florence Bernardo Bembo, who served diplomatic missions in Florence in 1475-1476 and 1478-1480 and stood at the centre of an elaborate humanist cult of courtly love around Ginevra, celebrated in verse by Lorenzo de' Medici, Cristoforo Landino and Alessandro Braccesi. Bembo's personal impresa — a wreath of laurel and palm — appears on the reverse of the panel, encircling a sprig of juniper that puns on Ginevra's name [ginepro = juniper] and reappears as the bushy juniper tree silhouetted behind her head on the obverse. The motto VIRTVTEM FORMA DECORAT identifies Ginevra's beauty as the outward sign of her virtue. The portrait was revolutionary on several counts: it is the earliest known Italian portrait to set its sitter in a landscape, the earliest to use a three-quarter pose turned to the left rather than the conventional strict profile, and one of the earliest examples in Florentine portraiture of the newly introduced Netherlandish oil technique. Leonardo applied the paint in extraordinarily fine layers, modelling the flesh and the misty Tuscan landscape behind it by smoothing the wet paint with his fingers — infrared examination has revealed his fingerprints embedded in the surface. The picture was first noted in Florence by the so-called Anonimo Gaddiano c. 1540, then disappears from view until it surfaced in the collection of the Princes of Liechtenstein around 1733, where it remained for over two centuries until its sale to Washington)
  • Technique/Medium Oil and tempera on poplar panel (painted on both sides — the reverse bears a roundel showing a wreath of laurel and palm encircling a sprig of juniper, with the Latin motto VIRTVTEM FORMA DECORAT [Beauty Adorns Virtue] inscribed on a scroll across the centre)
  • Original dimensions 38.1 x 37 cm (the panel was cut down at the bottom, probably in the late 16th or 17th century, removing the sitter's hands and forearms; the original full-length composition is known from a silverpoint study of female hands by Leonardo at Windsor that is generally accepted as a preparatory drawing for the lost lower portion)
  • Collection/Museum National Gallery of Art, Washington, D.C. (Ailsa Mellon Bruce Fund, accession 1967.6.1.a; acquired in February 1967 from the Princely Collections of Liechtenstein for approximately $5 million — at the time the highest price ever paid for any painting — making it the only undisputed painting by Leonardo da Vinci in any museum in the Americas)

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