Stefanina Primicile Carafa, Marchioness of Cicerale and Duchess of Montejasic. 1875 · Study 1958.28

Context from the museum

Although best remembered for his depictions of ballet dancers and race horses, Degas painted many likenesses of his family members. He probably painted this portrait of his aunt, Stefania Carafa (1819–1901), during an extended visit to Naples, where many of his relatives lived. Described in family papers as a highly indulged, fun-loving child, the duchess grew into the stoic, world-weary woman depicted here. No expensive finery reveals her high social rank; indeed she wears a mourning dress, possibly to observe the recent death of her brother Achille.

Museum description reproduced from its CC0 open-access record. Read the original catalog entry.

A detail to notice

Degas was a Parisian by birth, but had family connections around the world, including New Orleans and Italy. In this portrait Degas's aunt, who was a titled member of the aristocracy in southwestern Italy, is captured in loose, flowing strokes with her mourning dress and watery-eyed gaze.

Observation supplied by the Cleveland Museum of Art.

Read the dimensions before the image

The selected unframed measurement for Stefanina Primicile Carafa, Marchioness of Cicerale and Duchess of Montejasi is 39.4 cm wide and 49 cm high, equivalent to approximately 15.5 × 19.3 inches. Dividing width by height gives a format ratio of 0.80:1. The rectangular bounding area is 0.19 square meters; it describes the measured footprint, not the amount of paint or the monetary value.

On an illustrative 300 cm wall, the recorded width occupies 13.1% of the span before adding a frame. A centered placement leaves approximately 130.3 cm on each side before adding a frame. These are calculations by Physical Art For Crypto using museum measurements. They are not the museum’s display recommendations.

Questions to bring to your own collection

With Stefanina Primicile Carafa, Marchioness of Cicerale and Duchess of Montejasi in view, identify one feature you can point to, then distinguish what the museum records from your personal response. Keep its medium, oil on fabric, in your notes when comparing contemporary works.

• Which part of this vertical composition catches your eye first?
• Would a 39.4 cm width still suit the space after allowing for furniture and a frame?
• What surface detail would you need to see in person or in a close photograph?