Curatorial Narrative As we consider Anthony van Dyck’s “Portrait of a Genovese Lady,” circa 1622, it becomes evident that the artist was operating at the nexus of Baroque and Renaissance Revival design styles. This confluence is manifest in the fine brushwork, which imbues the subject with an aura of elegance and refinement. The palette, restricted to a range of blacks, whites, browns, and oranges, serves to heighten the sense of luxury and opulence, while also evoking the rich textures of velvet, silk, and other sumptuous fabrics. Van Dyck’s technique, honed through his work with Peter Paul Rubens, yields a portrait that is at once intimate and imposing, its spatial rhythm calibrated to draw the viewer into the subject’s rarefied atmosphere.When enlarged to 44×77 inches, the chromatic structure of “Portrait of a Genovese Lady” assumes an almost architectural scale, its darks and lights coalescing to create a sense of depth that is