It really does not feel Swedish in any way, does it.
But it did feel lika somewhat famous portrait.
I just googled the portrait.
I asked the uploader to take it down.
I replaced it with just a gray color for now.
Further down at that link there is a longer text in Spanish:
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Hans Baldung Grien was Dürer's most gifted disciple. This work is the only female portrait that has survived to this day. The influence of another great German master, Lucas Cranach, the Elder, is evident in details of the woman's clothing and adornments, such as the feathered hat and the headdress made of pearl strands of the hair. However, it is an absolutely enigmatic portrait in which all the identifications proposed by historians have been rejected. Currently, the trend is that it is probably an abstract representation, an ideal image or a personification, rather than a portrait of a specific character.
This Portrait of a Lady comes from the collection of Count Dumoulin-Eckart, of Munich, in which it was until 1933. Acquired in the art market, it has been part of the Thyssen-Bornemisza collection since 1935, appearing in their catalogs since 1937 , when it was published as the Portrait of a Princess of Baden-Durlach. The painting was collected by Otto Fischer in his 1939 monograph of the artist. The panel is the only surviving female portrait of Baldung Grien, although two others are known from literary references and old reproductions. It is signed with the artist's initials, which form a monogram in the upper left corner; next to it appears the date, of which only the last three numbers are read.
This enigmatic portrait reflects the influence on Baldung of another great German Renaissance artist of also very personal temperament: Lucas Cranach, the Elder. In reality, this influence is so noticeable that one could better speak of a direct dependence on Cranach's models. This fact, pointed out by Koch, led us to compare our portrait with Cranach's Salomé , preserved in the Szépmüvészeti Múzeum in Budapest and dated around the same years. This Salomé de Cranach is installed in an interior open to a beautiful landscape through an opening to the left. The figure on Cranach's table is adorned with a greater number of jewels, highlighting two heavy chains on his chest. Lübbeke confronted him with another oil painting by Cranach, also from 1530, the Judithfrom the Jagdschloss Grünewald, Berlin. The parallels between our painting and this Judith are evident, both in the framing Baldung Grien chooses and in the clothing. In fact, a series of elements of the Judith de Cranach, such as the hat with feathers, the chain and the choker that adorn her neck or the headdress of pearl threads that collects her hair, are repeated, with some modifications, in this Portrait of a lady . Baldung, in this case, also omits the scenario where Cranach installs his Judithrichly attired, with sword in hand and holding Holofernes's head by the hair. In both cases, in the works of Budapest and Berlin, the features of Cranach's figure are more natural and less enigmatic than those applied by Baldung in this oil painting. The similarities are reinforced by the way the character is presented, half-bodied and with a slight turn of the head to the front.
Along with the dependence on Cranach models patented in this portrait, Lübbeke has also mentioned similarities with the Flemish Jan Gossaert, in terms of composition, and with the Dutch painting that would be, according to this historian, perhaps, the explanation of the soft modeling with which the face has been made. Our figure has been built with a very limited chromatic range where orange predominates, used for the headdress of the hair, the goldsmith ornaments and brocades of the suit, and the green, almost black, used in the velvets of the hat and the dress. Along with them, the whitish tone of the face stands out, with very slight shadows on the temples and on their profiles and whose whiteness barely contrasts with the white of the pearls that wears on the neck. On this woman's face, Baldung has highlighted the eyes,
Attempts to identify this woman have been unsuccessful. For a long time the work was considered a wedding portrait of one of the princesses of the Baden-Durlach house, but this identification has been rejected for chronological and historical reasons. Currently there is a tendency to think that, more than before the portrait of a specific character, we are before the image of an ideal or before the personification of a motif whose interpretation, for the moment, eludes us.
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