Pelagio Palagi: Diana the Huntress, c. 1828-30

The model was possibly the ballerina and mistress of Count Girolamo Malfatti Carlotta Chabert, whom Francesco Hayez portrayed as Venus around the same time.

This beautiful painting is in the Metropolitan Museum of Art, who have this to say about it on their description page:

Giampietrino was among the most faithful pupils of Leonardo da Vinci, who worked in Milan between 1482 and 1499 and again between 1506 and 1513. This picture, which shows the goddess of the hunt drawing an arrow to shoot the stag behind her, derives from Leonardo’s studies for his celebrated painting of “Leda and the Swan” (destroyed in the seventeenth century but known through copies). From that source Giampietrino has taken over the accentuated contrapposto stance and the soft lighting. This is one of the earliest images to isolate Diana from a narrative context.

Pierre-Auguste Renoir: Diana the Huntress, 1867, dimensions 197 cm × 132 cm, National Gallery of Art in Washington DC. The model in the painting is Lise Tréhot, Renoir’s mistress and inspiration for a number of his paintings. As in much of Renoir’s early work, there is evidence of the influence of Gustave Courbet.