Sofonisba est l'aînée et la plus connue des six sœurs Anguissola (Sofonisba, Elena, Europa, Lucia, Anna Maria, Minerva). Sofonisba Anguissola (c. 1532[1] – 16 November 1625), also known as Sophonisba Angussola or Sophonisba Anguisciola,[2][3] was an Italian Renaissance painter born in Cremona to a relatively poor noble family. A Cremonese school bears the name Liceo Statale Sofonisba Anguissola.[31]. In 1571, when she was approaching the age of 40, Anguissola entered an arranged marriage to a Sicilian nobleman chosen for her by the Spanish court. Fredrika Jacobs, "Woman's capacity to create: The unusual case of Sofonisba Anguissola". Perlingieri - Achat Livre | fnac She received a well-rounded education that included the fine arts, and her apprenticeship with local painters set a precedent for women to be accepted as students of art. 3:(1994): 557. "[4], The origin and the name of the noble Anguissola family are linked to an ancient Byzantine tradition, rich in historical details.[5]. Interesting fact: On what would have been her 100th birthday Sofonisba's husband inscribed this on her tombstone: "To Sofonisba, my wife, who is recorded among the illustrious women of the world, outstanding in portraying the images of man. Sofonisba anguissola - relié - I.S. [11] Michelangelo subsequently gave Anguissola sketches from his notebooks to draw in her own style and offered advice on the results. Em particular, as suas pinturas de crianças eram inovadoras e muito apreciadas. [13][14] Dates are uncertain, but Anguissola probably continued her studies under Gatti for about three years (1551–1553). Approximately fifty works have been attributed to Anguissola. Since the shield of the Sourdi carried the effigy of an asp (in Latin: anguis),[8] after Galvano’s victory over the Umayyads, his brothers-in-arms and the people of Constantinople exclaimed: "Anguis sola fecit victoriam! In her later life, Anguissola painted not only portraits but religious themes, as she had done in the days of her youth, although many of the latter have been lost. MINA GREGORI SOFONISBA ANGUISSOLA, E LE SUE SORELLE LEONARDO ARTE Catalogue d'exposition Livre rare. Mary Garrard, "Here's Looking at Me: Sofonisba Anguissola and the Problem of the Woman Artist," Renaissance Quarterly 47, no. She later became an official court painter to the king, Philip II, and adapted her style to the more formal requirements of official portraits for the Spanish court. Les parents de Sofonisba, Amilcare Anguissola et Bianca Ponzoni, eurent six filles et un garçon. More from This Artist Similar Designs. Her husband strongly supported Sofonisbu Angishola in her work, which was the basis for their long and happy marriage. Sofonisba Anguissola (1531/32-1626) bien que femme et noble, est devenue un peintre reconnu et a admirablement réussi dans un domaine jusqu’alors réservé exclusivement aux hommes. [23] For the royal family, Anguissola produced detailed scenes of their lives that now hang in the Prado Museum. Sofonisba Anguissola's oeuvre had a lasting influence on subsequent generations of artists. Anguissola's husband died in 1579 under mysterious circumstances. Mais tarde, ela tornou-se pintora oficial da corte do rei e adaptou o seu estilo às exigências mais formais de retratos oficiais para a corte espanhola. American artist Charles Willson Peale (1741–1827) named his daughter Sophonisba Angusciola (1786–1859; married name Sellers). The influence of Campi, whose reputation was based on portraiture, is evident in Anguissola's early works, such as the Self-Portrait (Florence, Uffizi). He in turn recommended her to the Spanish king, Philip II. On 12 July 1624, Anguissola was visited by the young Flemish painter Anthony van Dyck, who recorded sketches from his visit to her in his sketchbook. Growing up in her native Cremona, a northern Italian city then under Spanish dominion, Sofonisba developed under the careful guidance of her ambitious and erudite father. Sofonisba initially showed Michelangelo a drawing of laughing girl, but the painter challenged her to draw a weeping boy, a subject which he felt would be more challenging. Mudou-se para Palermo e, posteriormente, Pisa e Génova, onde continuou a atividade como pintora principal de retratos, aparentemente com o apoio dos seus dois maridos, vivendo até a idade de noventa e três anos.[2]. [30] Some of her more well-known successors include Lavinia Fontana, Barbara Longhi, Fede Galizia and Artemisia Gentileschi. in which portraiture merges into a quasi-genre scene, a characteristic derived from Brescian models. Anguissola's example, as much as her oeuvre, had a lasting influence on subsequent generations of artists, and her great success opened the way for larger numbers of women to pursue serious careers as artists. A partida de xadrez Sofonisba Anguissola (também conhecida por Anguisciola) (Cremona, 1532 — Palermo, 16 de Novembro de 1625) foi uma pintora renascentista italiana, discípula de Bernardino Campi. The Anguissolas who settled in Venice belonged to the patriciate of that city from 1499 to 1612. She was one of the first known female artists and one of the first women artists to establish an international reputation. Foi admirada por Michelângelo e Anthony van Dyck, entre outros. In her lifetime, her talent was noted by Michelangelo, Vasari and Van Dyck. Portraitiste de grand talent, elle fut appelée à la cour du roi Philippe II d’Espagne, où elle fut dame d’honneur de la reine et peintre de la famille royale. Anguissola's self-portraits also offer evidence of what she thought her place was as a woman artist. Mary Garrard, "Here's looking at me: Sofonisba Anguissola and the problem of the woman artist", Bernardino Campi Painting Sofonisba Anguissola, Portrait of Elisabeth of Valois (1545-1568), Queen consort of Spain and her daughter Isabella Clara Eugenia (1566-1633), Portrait of Francesco I de Medici, Grand Duke of Tuscany (1541-1587), Portrait of Queen Elisabeth of Spain (1545-1568), This page was last edited on 20 December 2020, at 15:32. [11] When Campi moved to another city, Anguissola continued her studies with painter Bernardino Gatti (known as Il Sojaro), a pupil of Correggio's. [11] She received a royal pension of 100 ducats that enabled her to continue working and tutoring would-be painters. Her training was not to help her into a profession where she would compete for commissions with male artists, but to make her a better wife, companion, and mother. Sofonisba Anguissola, Self-Portrait holding a medallion with the Letter's of her Father's Name, early 1550s. No fim da vida, ela também pintou temas religiosos, embora muitas das suas pinturas religiosas tenham sido perdidas. Bernardino Campi Painting Sofonisba Anguissola c. 1559 Oil on canvas, 111 x 110 cm Pinacoteca Nazionale, Siena: Portrait of the Artist's Sisters Playing Chess 1555 Oil on canvas, 72 x 97 cm Muzeum Narodowe, Poznan: Asdrubale Bitten by a Crawfish c. 1554 Black chalk and charcoal on brown paper, 333 x 385 mm Museo Nazionale di Capodimonte, Naples [7] This “artificial fire” was the so-called Greek fire, an incendiary weapon developed in the late 7th century, which was responsible for many key Byzantine military victories, most notably the salvation of Constantinople from two Arab sieges, thus securing the Empire's survival. She became a painter and a quilter whose works are in the Philadelphia Museum of Art. Posteriormente em 1569, Anguissola foi convidada para ir para Madrid e ser tutora de Isabel, com o posto de dama de companhia. Anguissola's education and training had different implications from those of men, since men and women worked in separate spheres. Lomellino's fortune, plus a generous pension from Philip II, allowed Anguissola to paint freely and live comfortably. Sofonisba est l'aînée et la plus connue des six sœurs Anguissola (Sofonisba, Elena, Europa, Lucia, Anna Maria, Minerva). Only recently has Anguissola been recognized as the painting's creator.[24]. Sofonisba Anguissola e le sue sorelle, catalogue d’exposition, Centro Culturale, Cremona, 6 septembre - 11 décembre 1994 (ISBN 978-8878135123) Sur les autres projets Wikimedia : Liste des peintures de Sofonisba Anguissola, sur Wikimedia Commons Portail de la peinture : "The snake alone brought the victory!" [12], In 1554, at age twenty-two, Anguissola traveled to Rome, where she spent her time sketching various scenes and people. C’est le cas par exemple de Sofonisba Anguissola (vers 1532–1625), dont le paternel, esprit libre de la Renaissance, s’emploie activement à la réussite de sa fille. Miniature self portrait, 1556. Sofonisba Anguissola À une époque où les femmes étaient considérées comme des objets à représenter dans l’art, et non comme des artistes elles-mêmes, la peintre italienne de la Renaissance Sofonisba Anguissola (1532-1625) a été la première femme artiste à obtenir une reconnaissance internationale. [26] Van Dyck, who believed her to be 96 years of age (she was actually about 92) noted that although "her eyesight was weakened", Anguissola was still mentally alert. Her work was akin to the worldly tradition of Cremona, influenced greatly by the art of Parma and Mantua, in which even religious works were imbued with extreme delicacy and charm. La famille Anguissola appartient à la petite noblesse de Crémone, ville de Lombardie en Italie du nord. Achetez neuf ou d'occasion The Spanish queen, Elizabeth of Valois, was a keen amateur painter and in 1559 Anguissola was recruited to go to Madrid as her tutor, with the rank of lady-in-waiting. Charles de Tolnay, "Sofonisba Anguissola and her relations with Michelango". Sofonisba Anguissola was born in Cremona, Lombardy in 1532, the oldest of seven children, six of whom were girls. O exemplo de Anguissola, tanto quanto as suas obras, tiveram influência duradoura sobre as gerações seguintes de artistas e o seu grande sucesso abriu caminho para que muitas mulheres pudessem seguir carreiras sérias como artistas. The following is a list of paintings by Sofonisba Anguissola that are generally accepted as autograph. An innovative portrait artist, she was one of the first world-renowned women painters. The family lived near the site of a famous 2nd century B.C. [17] Although Anguissola enjoyed significantly more encouragement and support than the average woman of her day, her social class did not allow her to transcend the constraints of her sex. Anguissola was fourteen when her father sent her and her sister Elena to study with Bernardino Campi, a respected portrait and religious painter of the Lombard school. Her portrait of Queen Elisabeth of Valois with a zibellino (the pelt of a marten set with a head and feet of jewelled gold) was widely copied by many of the finest artists of the time, such as Peter Paul Rubens, while Caravaggio allegedly took inspiration from Anguissola's work for his Boy Bitten by a Lizard.[15]. Des milliers de livres avec la livraison chez vous en 1 jour ou en magasin avec -5% de réduction. Após a morte da rainha, Filipe ajudou a organizar-lhe um casamento aristocrático. Sofonisba anguissola, I.S. She was influenced equally by both grand mannerists and realistic portraitists current in Lombardy during the mid-sixteenth century. [1], Anguissola nasceu no seio de uma família nobre, mas relativamente pobre. Sofonisba, l'aînée, voit le jour entre 1530 et 1535, probablement en 1532. [22] In 1625, she died at age 93 in Palermo. Her self-portrait of 1561 show her playing an instrument, taking on a different role. Several of these were younger artists, eager to learn and mimic Anguissola's distinctive style. Cultivou o retrato e o autorretrato, establecendo novas regras no … She was the leading portrait painter in Genoa until she moved to Palermo in her last years. Autorretrato (c. 1560), de Sofonisba Anguissola Esta é uma lista de obras de Sofonisba Anguissola, lista não exaustiva das pinturas e desenhos atribuidos a Sofonisba Anguissola, mas tão só dos que como tal se encontram registadas na Wikidata. Anguissola tornou-se numa rica patrona das artes após o enfraquecimento da sua vista, e em 1625 morreu aos noventa e três anos de idade em Palermo. As suas pinturas mais características e atrativas são os retratos de si e da sua família, pintados antes de ela ter-se mudado para a corte espanhola. In particular, her depictions of children were fresh and closely observed. On 4 August 2017 a crater on Mercury was named after her.[32]. Ela recebeu uma educação boa e completa, que incluiu as belas artes, a sua aprendizagem com pintores locais estabeleceu um precedente para que as mulheres pudessem ser aceitas como estudantes de arte. Anguissola and her husband left Spain with the king's permission, and are believed to have lived in Paternò (near Catania) from 1573 to 1579, though some recent scholarship has suggested that the couple remained in Spain. A lista está ordenada pela data de criação de cada pintura. Sylvia Ferino-Pagden and Maria Kusche, Sofonisba Anguissola: A Renaissance Woman, (Washington D.C.: The National Museum of Women in the Arts, 1995). Na corte espanhola pintou retratos de Estado formais, no estilo oficial em vigor. Skira, 2007. ", i.e. Seven years later, on the anniversary of what would have been her 100th birthday, her husband placed an inscription on her tomb that read in part: To Sofonisba, my wife, who is recorded among the illustrious women of the world, outstanding in portraying the images of man. [18] This painting has been regarded as a conversation piece, which is an informal portrait of a group engaging in lively conversation or some activity . [11] Elena Anguissola (c. 1532 – 1584) abandoned painting to become a nun. At the Spanish court she painted formal state portraits in the prevailing official style, as one of the first, and most successful, of the relatively few female court painters. [12] Two years later, while traveling to Cremona by sea, she fell in love with the ship's captain, sea merchant Orazio Lomellino. Anguissola was approximately twenty-six when she left Italy to join the Spanish court. According to this tradition, the Anguissolas are descended from the Constantinopolitan warlord Galvano Sordo or Galvano de Soardi/Sourdi (Σούρδη, a family name still in use today in Greece, Constantinople and Smyrna). [25] Excerpts of the advice she gave him about painting survive from this visit,[27] and he was said to have claimed that their conversation taught him more about the "true principles" of painting than anything else in his life. Her aristocratic father made sure that Anguissola and her sisters received a well-rounded education that included the fine arts. Boston Museum of Fine Arts. [11] Her father, Amilcare Anguissola, was a member of the Cremonese nobility, and her mother, Bianca Ponzone, was also of noble background. Image Title Date Collection Inventory number Ref Portrait of Elena Anguissola: 1540s Southampton City Art Gallery, UK Self-portrait: 1550 Uffizi, Florence Self-portrait: c.1550 Private collection Sofonisba Anguissola: Drawings & Paintings (Annotated), Raya Yotova, Publisher s13381. She had painted the entire royal family and even the Pope commissioned Anguissola to do a portrait of the Queen. She worked for the Spanish monarchy, and also developed her career as a portrait-painter in Italy. So, unusually for that time, she was permitted to train as a painter. Sofonisba Anguissola (c. 1532 – 16 November 1625), also known as Sophonisba Angussola or Anguisciola, was an Italian Renaissance painter born in Cremona to a relatively poor noble family. Anguissola is significant to feminist art historians. Sofonisba Anguissola Origem: Wikipédia, a enciclopédia livre. Her most distinctive and attractive paintings are her portraits of herself and her family, which she painted before she moved to the Spanish court. Yet despite the challenge, Anguissola's paintings of Elisabeth of Valois – and later of Anne of Austria, Philip II’s fourth wife – were vibrant and full of life. Enquanto jovem mulher, Anguissola viajou para Roma, onde foi apresentada a Michelangelo, que imediatamente reconheceu o seu talento, e para Milão, onde pintou o Duque de Alba e Isabel de Valois, mulher de Filipe II de Espanha, que era pintora amadora. Her private fortune also supported her family and brother Asdrubale following Amilcare Anguissola's financial decline and death. Anguissola was trained by Italian Renaissance painters Bernardino Campi (1522-1591) and Bernardino Gatti (1495-1575). During her 14-year residence, she guided the artistic development of Queen Elisabeth, and influenced the art made by her two daughters, Isabella Clara Eugenia and Catherine Michelle. [6] In 717, Galvano served in the army of the Byzantine emperor Leo III the Isaurian, and "with an ingenious artificial fire, contributed to liberate the city of Constantinople from the Saracens who had kept it besieged by land and sea”. After the queen's death, Philip helped arrange an aristocratic marriage for her. Sofonisba Anguissola (c. 1535-1625) began painting as a young girl in Cremona, Northern Italy in the 1540s. FELIPE II ESPOSA. This last portrait made of Anguissola survives in on public display at Knole. Her paintings can be seen at galleries in Baltimore (Walters Art Museum), Bergamo, Berlin (Gemäldegalerie), Graz (Joanneum Alte Galerie), Madrid (Museo del Prado), Milan (Pinacoteca di Brera), Milwaukee (Milwaukee Art Museum), Naples (National Museum of Capodimonte), Poznań (National Museum, Poznań), Siena (Pinacoteca Nazionale), Southampton (City Art Gallery), and Vienna (Kunsthistorisches Museum).