Woman at her Dressing Table, c. 1645
Oil on canvas
Canvas: 50 3/4 × 36 1/8 in. (128.9 × 91.8 cm)Frame (outer): 64 × 49 3/4 in. (162.6 × 126.4 cm)
Museum purchase funded by Mrs. Harry C. Hanszen

Habits of Mind

  • OVERCOME FEAR Overcome fear of ambiguity / fear of failure or being wrong / fear of the unknown


  • 7


  • Language Arts

Compare, Contrast, Complete

Discussion through works of art encourage how to approach ambiguous and complex ideas, thoughts, and feelings. The MFAH offers a democratic space where students and teachers can develop, practice and articulate these habits of mind. Remember that the quality of the conversation is what is important, not finding the artist’s “answer.” Slow down and take the time to make careful observations. Talk about what you notice, and try to avoid jumping to conclusions and interpretations. Be sure to give enough time for silent looking and thinking.


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  • Using the zoom tool, focus only on the head and shoulders of Ferdinand Bol’s Woman at her Dressing Table. Observe details, creating an inventory of objects, elements, and style. Analyze and interpret this artist’s depiction of the woman in this portrait.
  • Ferdinand Bol was one of Rembrandt van Rijn’s (1606–1669) most successful students. He followed Rembrandt’s techniques so closely that his work was often critiqued in comparison to Rembrandt’s work.  Observe the details, elements, and style of Rembrandt’s  Portrait of a Young Woman.
  • Refer back to Woman at her Dressing Table and use the zoom tool to expand the view to reveal the entire portrait.  What further interpretations and conclusions can you draw about this woman?
  • Create a Venn Diagram, comparing and contrasting the two portraits.
  • Using your imagination to zoom out of Rembrandt’s Portrait of a Young Woman, what might you see? What other details might emerge? Where might she be? What might she be doing?
  • Give each student a copy of Rembrandt’s Portrait of a Young Woman, with the size of the image reduced and placed in the center of the page, resulting in a large periphery of blank space surrounding the image.  Students add to the blank space with details showing where she is, what she’s doing, etc.
  • Compare and Contrast the students’ drawings with Bol’s Woman at Her Dressing Table.

Subject Matter

Compose a literary text such a fictional narrative using genre characteristics and craft to depict a day in the life of this woman at her dressing table.


Work of Art

One of Rembrandt van Rijn’s (1606–1669) best known and successful students, Ferdinand Bol followed his master’s techniques so closely that his work was often critiqued in comparison to Rembrandt’s work, and sometimes even mistaken for it. Bol moved to Amsterdam in 1635 to study under Rembrandt in his workshop and served as his assistant. By 1640 he achieved great success as an independent artist, although he continued to be compared to Rembrandt. In 1649 he received his first commission to paint a group portrait, which led to a series of commissions outside Amsterdam. Typical of Rembrandt and 17th-century Dutch art in general, Bol painted historical, allegorical, and mythological scenes. He followed Rembrandt stylistically but was often criticized for failing to achieve the psychological intensity of his master. By 1650 Bol turned away from Rembrandt’s influence and formed his own identifiable style. In 1669 he married a wealthy widow and quit painting entirely.

It has been questioned whether this painting is a portrait of a specific person, a portrait in which the sitter is playing a role in an allegorical or a historical scene, or merely a scene from everyday life. It has also been suggested that the woman in this painting bears a likeness to Rembrandt’s wife, Saskia van Uylenburgh (1612–1642). However, the most likely conclusion is that this is a painting of a woman personifying the vice of Vanity, a well-known subject in 17th-century Dutch art. Intended to symbolize the transitory nature of earthly life and the inevitability of death, the woman sits at her vanity table admiring herself. She is depicted in a natural light and covered in an abundance of jewels, symbols of the impermanence of earthly possessions.

By not showing the mirror as the direct source of light and creating an elusive glow on the woman’s face, Bol highlights her gentle expression and allows the mood evoked from her face to be the central theme in this painting. This technique is referred to as chiaroscuro, an extreme contrast of light and dark. Chiaroscuro was popular with artists in the 17th century as a way to isolate the subjects they painted and to heighten emotional tension. In this painting, the carefully detailed jewels are dimly lit with shimmering yellows to subtly add brilliance. Bol’s palette, which contains a spectrum of reds arranged in patterns of dark to light to enhance the effect of shadow, details the expansive weight and volume of the woman’s dress.

After the end of the Eighty Years War with Spain in 1648, Amsterdam attained great wealth as the trading and cultural center of the world. By lending money to kings and emperors internationally, Amsterdam also held great political influence across the globe, and its ships set out for newly found colonies in the Americas and East Indies. With the emergence of wealth in the middle classes, and few demands for religious art in the Calvinist Netherlands, most art commissions came from private individuals or wealthy organizations. For most artists, including Rembrandt and Bol, portraits were the main source of income. For the first time artists were competing in the open market, with paintings being used as payment on debts, collateral on loans, and even as objects of investment and speculation.

The Learning Through Art program is endowed by Melvyn and Cyvia Wolff.

The Learning Through Art curriculum website is made possible in part by a grant from the Institute of Museum and Library Services.

All Learning and Interpretation programs at the Museum of Fine Arts, Houston, receive endowment income from funds provided by the Louise Jarrett Moran Bequest; Caroline Wiess Law; the William Randolph Hearst Foundation; The National Endowment for the Humanities; the Fondren Foundation; BMC Software, Inc.; the Wallace Foundation; the Neal Myers and Ken Black Children’s Art Fund; the Favrot Fund; and Gifts in honor of Beth Schneider