Dublin Core
Title
Portrait of a Nun
Description
Sofonisba Anguissola, the artist of the portrait, was born into a financially struggling noble family with six siblings. She was known to utilize her family members as subjects of her early paintings (Murphy 2007). Indeed, the pictured individual is theorized to be Sofonisba’s only younger sister, Elena. Both Elena and Sofonisba attended art school under the tutelage of Bernadino Campi; however, as portrayed in the image, Elena did not pursue a career in the arts and rather devoted her life to religious study as a nun.
The subject, dressed in a white religious habit, is placed in front of a simple, black background. This portrait exemplifies Sofonisba’s ability to operate within the societal expectations of female artists of her time. Sofonisba makes little use of vibrant colors, but rather adopts a more modest color palette reflecting the reserve of the subject. Moreover, the monochrome nature of the painting cannot be separated from Sofonisba’s expected decency as a female artist of the time. And yet while operating under such societal expectations, Sofonisba subtly lashes back against restrictions by portraying her sister in a lively, powerful manner. The subject’s upright posture exhumes confidence. This is coupled with her unwavering facial expression and piercing eye contact. The viewer cannot help but be drawn towards the subject’s face – placed in the upper center of the portrait. Moreover, the face is further accented by the apt use of the light contrast that livens the subject. The left side of the portrait is illuminated by an unseen light source, halving the subject’s face. This helps establish a clear tension between the light and dark facial portions. Through such contrast, the nun is characterized as having dueling sides or an internal conflict. Perhaps another subtle retort against the expected roles of women in society.
The subject, dressed in a white religious habit, is placed in front of a simple, black background. This portrait exemplifies Sofonisba’s ability to operate within the societal expectations of female artists of her time. Sofonisba makes little use of vibrant colors, but rather adopts a more modest color palette reflecting the reserve of the subject. Moreover, the monochrome nature of the painting cannot be separated from Sofonisba’s expected decency as a female artist of the time. And yet while operating under such societal expectations, Sofonisba subtly lashes back against restrictions by portraying her sister in a lively, powerful manner. The subject’s upright posture exhumes confidence. This is coupled with her unwavering facial expression and piercing eye contact. The viewer cannot help but be drawn towards the subject’s face – placed in the upper center of the portrait. Moreover, the face is further accented by the apt use of the light contrast that livens the subject. The left side of the portrait is illuminated by an unseen light source, halving the subject’s face. This helps establish a clear tension between the light and dark facial portions. Through such contrast, the nun is characterized as having dueling sides or an internal conflict. Perhaps another subtle retort against the expected roles of women in society.
Creator
Sofonisba Anguissola
Source
Anguissola, Sofonisba. “Portrait of a Nun.” Southampton, England: Southampton City Art Gallery, 1551. Southampton City Art Gallery. Southampton, England.
Jacobs, Frederika H. “Woman’s Capacity to Create: The Unusual Case of Sofonisba Anguissola.” Renaissance Quarterly47, no. 1 (1994): 74–101. https://doi.org/10.2307/2863112.
Murphy, Caroline P. “The Economics of the Woman Artist.” In Italian Women Artists from Renaissance to Baroque, ed. Vera Fortunati et al., 23–30. Milan: Skira, 2007.
Robin, Diana Maury, and Anne R. Larsen. “Anguissola Sofonisba.” Essay. In Encyclopedia of Women in the Renaissance: Italy, France, and England, 14–18. Santa Barbara, CA: ABC-CLIO, 2007.
Jacobs, Frederika H. “Woman’s Capacity to Create: The Unusual Case of Sofonisba Anguissola.” Renaissance Quarterly47, no. 1 (1994): 74–101. https://doi.org/10.2307/2863112.
Murphy, Caroline P. “The Economics of the Woman Artist.” In Italian Women Artists from Renaissance to Baroque, ed. Vera Fortunati et al., 23–30. Milan: Skira, 2007.
Robin, Diana Maury, and Anne R. Larsen. “Anguissola Sofonisba.” Essay. In Encyclopedia of Women in the Renaissance: Italy, France, and England, 14–18. Santa Barbara, CA: ABC-CLIO, 2007.
Publisher
Unknown
Date
1551
Contributor
Michael Greenstein
Rights
This image can be used for non-commercial research or private study purposes, and other UK exceptions to copyright permitted to users based in the United Kingdom under the Copyright, Designs and Patents Act 1988, as amended and revised. Any other type of use will need to be cleared with the rights holder(s).
Format
68.5 x 53.3 cm
Type
Painting
Coverage
Southampton City Art Gallery
Still Image Item Type Metadata
Original Format
Painting
Physical Dimensions
68.5 x 53.3 cm