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Th ee Y g Gi b F e fW a La , E g a d, Ab 1620

W Made I ?
We don t know who painted Three Yo ng Girls; however, we do know that it was created between 1610 and 1620, and
that it was painted in the st le of William Larkin. William Larkin was an English artist who painted some of the most
fashionable figures of his time. Until he was definitivel identified in the 1900s, Larkin was simpl known as the curtain
master for his characteristic inclusion of curtains to frame the figures in his portraits. Since Larkin was an active and ver
popular artist during this time period, it seems likel that the anon mous painter of Three Yo ng Girls purposel emulated
Larkin s distinctive st le to please his patrons. Some features of Larkin s st le visible in this painting include strong lighting,
polished treatment of flesh, and close attention to the details of rich fabrics, jewelr , and oriental carpets. Three Yo ng
Girls was painted during what is known as the Jacobean period in England (1603-1625). This period corresponds to the
rule of James I, son of Mar , Queen of Scots. Jacobean portraits are characteri ed b brilliant, jewel-like color and heavil
decorated figures. Ever detail of jewelr and fabric is meticulousl delineated and recorded.

W a I ed I ?
The three unidentified girls in this painting are a m ster , but b carefull stud ing the details in the piece, we can learn
several things about them. The girls are dressed in matching outfits, a sort of fashionable famil uniform. Since fashions go
in and out of st le, the clothing worn b the figures helps us identif time period and status. The low necklines, lace collars,
high waistlines, and ellow lace date the painting to somewhere around 1620. The expensive fabrics and gold, diamond,
and coral jewelr the girls wear make it clear that the come from a wealth famil .

Certain details in this painting lead some art historians to theori e that it was painted after the death of the girls mother.
The gold ring attached to a black string on the hand of the middle girl is one detail that could support this h pothesis. In
addition to s mboli ing an engagement, rings were used in the 1600s to s mboli e mourning. The ring could have
belonged to the girl s mother, hence the large si e, and she wears it in remembrance. The oungest girl s lad or fashion
doll is another clue that supports this theor . The doll is dressed in clothes that represent the st le of clothing their mother
would have worn. The black fabric of her dress, traditionall the color of death, would then be appropriate. The marigold,
blue h acinth, and periwinkle flowers the two oungest girls wear in their hair can represent, among other things, grief,
despair, death, and mourning.

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Re ce e.

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Th ee Y g Gi b F e fW a La , E g a d, Ab 1620

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The girls matching earrings depict hunting-horns, or bugle-horns. These horns are a common motif in
families coats of arms. Having a coat of arms was a s mbol of status during this time because the
had to be confirmed or granted b the king s heralds. The hunting-horn motif suggests that the girls
famil were landowners and possibl members of the nobilit or gentr (one class below the nobilit ).

C a B ace e

The red and ellow coral bracelets the oldest and oungest girls wear not onl reaffirm their wealth
origins but ma have been intended as powerful talismans (objects believed to have special powers).
Coral beads were talismans of safet and good health, especiall for children. Child mortalit was
high during this time, so perhaps these oung girls were given coral to protect them from bad luck,
illness, and death.
 G dR g

The gold ring the middle girl wears could be either an engagement or a mourning ring. It s possible
that she had alread become engaged and wears the s mbol of her betrothal. At this time, stringing
jewelr on black ribbon was popular. It s also possible this ring belonged to the girl s mother and she
wears it as a s mbol of mourning for her mother s death.

Traditionall in art, ripe fruit has represented fertilit . However, the fruit held b the oldest and middle
girls are onl semi-ripe; the could be s mbols of the girls immaturit and a suggestion of ph sical
development in the future. In that light, the grapes and the pears ma be s mbols of the sisters' future
roles as mothers and wives. Grapes are s mbolic of good luck. The pear is a celebration of a
woman s form.

F e

The two oungest girls have marigolds, blue h acinths, and blue-purple periwinkles in their hair; the
eldest wears a red carnation. Although each flower has man meanings, marigolds traditionall
s mboli e affection and obedience; carnations s mboli e betrothal; blue h acinth, grief and
mourning; and periwinkle, man things, from death to immortalit to lovemaking. Although the
individual flowers can be associated with love, affection, virginit , constanc , and marriage (all
perhaps appropriate for a painting of oung girls), the can all also represent grief, despair, death,
and mourning.

Red, ellow, and green are the dominant colors in this painting. The artist probabl chose these
colors to make the painting vibrant and intense. The red can primaril be found in the dresses and the
girls skin; the ellow in the lace, braiding, and ribbons on their dresses; and the green in the heav
drapes gathered behind the girls in the background.

S e ?

The girls stand in a row holding each others hands and arms, indicating the have a close
relationship. Their dresses and jewelr are identical and their headdresses are ver similar. Each girl
wears her hair in the same st le, and the all have the same blue-gra e es, red lips, pale skin, ros
cheeks, and long, slender noses.

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