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Bishandas, Nur Jahan holding a portrait of Emperor Jahangir, 1627, Gum tempera and gold on paper, Painting only: 13.6 x 6.4 cm (5 3/8 x 2 1/2"); Page: 30 x 22.1 cm (11 13/16 x 8 11/16"), The Cleveland Museum of Art, Catherine and Ralph Benkaim Collection

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Nur Jahan holding a portrait of Emperor Jahangir

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Nur Jahan holding a portrait of Emperor Jahangir

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Jan Van Eyck, Portrait of Giovanni Arnolfini and his Wife, 1434, Oil on wood, 82.2 × 60 cm, The National Gallery, London, Main Collection 

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Portrait of Giovanni Arnolfini and his Wife

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Portrait of Giovanni Arnolfini and his Wife

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Juan Rodríguez Juárez, Spaniard and Indian Produce a Mestizo, 1715, Oil on canvas, 80.7 x 105.4 cm, Breamore House, Hampshire, UK

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Francois Boucher, Pompadour at Her Toilette, 1758, Oil on canvas, 81.2 × 64.9 cm (31 15/16 × 25 9/16"), Harvard Art Museum, Fogg Museum, Bequest of Charles E. Dunlap

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1. Throughout history, women have barely been given much choice to choose their own fate and make their own decisions oftentimes succumbing to the power of a man figure in their life.

2. Portraits served not only as records of likeness and beauty but as visual strategies, crafted to communicate legitimacy, authority, and power.

3. The connections between race, gender, and social hierarchy and how they intersect in portraiture, shaping the identity and perceived authority of women from Europe to Mughal India and Colonial America, giving them more freedom and autonomy.

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Jean-Honoré Fragonard, The Swing, 1767, oil on canvas, 81 x 64.2 cm, Wallace Collection, London 

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Boucher’s Pompadour at Her Toilette depicts King Louis XV’s mistress, Jeanne-Antoinette Poisson, in Rococo style which is light, playful, and ornate. These elements can also be seen in Jean-Honoré Fragonard's The Swing. Applying rouge, a feminine ritual of the time; she wears a portrait of the King tied to her wrist, symbolizing her lasting role not just as his favorite, but as a trusted advisor and powerful figure at court. 

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Boucher’s Pompadour at Her Toilette depicts King Louis XV’s mistress, Jeanne-Antoinette Poisson, in Rococo style which is light, playful, and ornate. These elements can also be seen in Jean-Honoré Fragonard's The Swing. Applying rouge, a feminine ritual of the time; she wears a portrait of the King tied to her wrist, symbolizing her lasting role not just as his favorite, but as a trusted advisor and powerful figure at court. 

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Bishandas depicts Emperor Jahangir in a small portrait held by his favorite wife, Nur Jahan, after his death. Though she was around 50 years old at this time, she’s shown with youthful beauty. As a powerful political figure who managed state affairs during his reign, this painting emphasized her continued influence and her desire to maintain authority and power within the Mughal court (The Cleveland Museum of Art).

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Bishandas depicts Emperor Jahangir in a small portrait held by his favorite wife, Nur Jahan, after his death. Though she was around 50 years old at this time, she’s shown with youthful beauty. As a powerful political figure who managed state affairs during his reign, this painting emphasized her continued influence and her desire to maintain authority and power within the Mughal court (The Cleveland Museum of Art).

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The Cleveland Museum of Art. (n.d.). Nur Jahan holding a portrait of Emperor Jahangir. The Cleveland Museum of Art. Retrieved May 1, 2025, from https://www.clevelandart.org/art/2013.325