1 10 8 https://www.baroque.dahvc.org/fall-2021/files/original/Lavinia_Fontana_s_Work_and_Comparison_Pieces/Nativity/10.2307_community.18144831-1.jpg a30e993b579b4de6de6660747807f61d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lavinia Fontana's Work and Comparison Pieces Description An account of the resource A swath of work by Lavinia Fontana and other comparative artists.. Her powerful and bold depictions of female noblewomen, biblical figures, and self portraiture contrast her contemporaries. Through such juxtaposition, Fontana emerges as a representation and an advocate for women's equality in the arts. Creator An entity primarily responsible for making the resource Lavinia Fontana Source A related resource from which the described resource is derived TODO Publisher An entity responsible for making the resource available TODO Date A point or period of time associated with an event in the lifecycle of the resource 1552 - 1614 Contributor An entity responsible for making contributions to the resource M Greenstein, E Henne, J Chen, K Campbell Format The file format, physical medium, or dimensions of the resource mixed, jpg, oil, copper Type The nature or genre of the resource Paintings Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant TODO Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Nativity Subject The topic of the resource Mary Jesus Christ Saint Joseph Baroque Male Artists Creator An entity primarily responsible for making the resource Barocci, Federico Source A related resource from which the described resource is derived Turner, Nicholas. “A Nativity by Barocci at Chatsworth for Paintings in the Prado and Formerly in the Rasini Collection.” Master Drawings 51, no. 2 (2013): 189–94. http://www.jstor.org/stable/43705947. This source contextualizes the "Nativity" by Barocci with respect to Barocci's process of ideating on Nativity scenes and how this work can serve as an addition to the patron's collection. Notably, this argument references sketches which Barocci made of Nativity scenes prior to creating this painting. The differences between these and the paintings revealed messages which Barocci found important to present or omit in a final version. Furthermore, another work from the patron's collection was presented as a secular analog based on their similarities in lighting, color, and spatial interplay. Publisher An entity responsible for making the resource available Francesco Maria II della Rovere, Duke of Urbino Federico Barocci (1526-1612). Nativity. Images, n.d. https://jstor.org/stable/community.18144831. Date A point or period of time associated with an event in the lifecycle of the resource 1597 Contributor An entity responsible for making contributions to the resource Kyle Campbell Format The file format, physical medium, or dimensions of the resource 134 cm x 105 cm oil on canvas Type The nature or genre of the resource Painting Rights Information about rights held in and over the resource Photo Credit: Erich Lessing/ART RESOURCE, N.Y. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Museo del Prado, Madrid, Spain Description An account of the resource About two decades after Fontana’s “Holy Family with Saints Margaret and Francis”, Federico Barocci produced a “Nativity”. Both works dealt with the Holy Family as subjects which is the primary impetus for their comparison. On a deeper level, both Fontana and Barocci received commissions for altarpieces in prominent churches around the turn of the 16th century so considering their treatment of religious subjects and themes will hopefully give broader insight to Fontana’s career and the tastes of the time. While Fontana’s “Holy Family” evokes allusions to Renaissance Nativity scenes, Barocci’s spatial arrangement differs, with the foreground and lighting appearing in the right half of the painting. Mary takes center stage, although her garments are a brighter, less realistic looking pink when compared to Fontana’s portrayal. Her face is also inclined towards her Child, reducing the visibility of her features. Jesus is a less-active subject, receiving his Mother’s gaze in the crib and immobilized by swaddling. He is not asleep, but can be seen softly smiling, looking at an unknown point somewhere out of the painting. Barocci’s painting has a much more active background, and the lighting change between front and back is less pronounced with the painting overall darker than “The Holy Family”. Joseph seems to be inviting shepherds into the stable, and he is oriented away from Mary and Jesus. Barocci uses more negative space effectively to draw the viewer’s gaze away from the Mother and Child and into an unknown (to the viewer and Jesus) outside world to which Joseph is opening the door. Fontana more subtly shifts the viewer’s gaze to the other with Jesus’ hand oriented upwards, along the vertical lines created by the background curtains. https://www.baroque.dahvc.org/fall-2021/files/original/Lavinia_Fontana_s_Work_and_Comparison_Pieces/Holy_Family_with_Saints_Margaret_and_Francis/10.2307_community.10590178-1.jpg 971472567db4c405ce3309e7300e29f0 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lavinia Fontana's Work and Comparison Pieces Description An account of the resource A swath of work by Lavinia Fontana and other comparative artists.. Her powerful and bold depictions of female noblewomen, biblical figures, and self portraiture contrast her contemporaries. Through such juxtaposition, Fontana emerges as a representation and an advocate for women's equality in the arts. Creator An entity primarily responsible for making the resource Lavinia Fontana Source A related resource from which the described resource is derived TODO Publisher An entity responsible for making the resource available TODO Date A point or period of time associated with an event in the lifecycle of the resource 1552 - 1614 Contributor An entity responsible for making contributions to the resource M Greenstein, E Henne, J Chen, K Campbell Format The file format, physical medium, or dimensions of the resource mixed, jpg, oil, copper Type The nature or genre of the resource Paintings Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant TODO Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Holy Family with Saints Margaret and Francis Subject The topic of the resource Human figure in art Jesus Christ Catholicism Saints Female Artists Baroque Creator An entity primarily responsible for making the resource Fontana, Lavinia Source A related resource from which the described resource is derived Cheney, Liana. “Lavinia Fontana, Boston ‘Holy Family.’” Woman’s Art Journal 5, no. 1 (1984): 12–15. https://doi.org/10.2307/1357879. This source was published when Fontana's painting was discovered from a private collection and placed on public display. It analyzed the work in relation to Fontana's other portrayals of the Holy Family, making an argument particularly about the religious themes which are so powerfully represented in the painting. This allowed it to make the case for the importance of the painting in Fontana's career and within religious Baroque art. Date A point or period of time associated with an event in the lifecycle of the resource 1578 Contributor An entity responsible for making contributions to the resource Kyle Campbell Rights Information about rights held in and over the resource Image Courtesy The Davis Museum at Wellesley College; This image is provided for educational purposes only, and may be protected by copyright. The permission of the copyright holder may be required for the reuse of this image.; Contact Information: Helen A. Connor, Assistant Registrar & Documentation Specialist, Davis Museum at Wellesley College; Tel: 781.283.3369; Fax: 781.283.2064; https://www.wellesley.edu/davismuseum Format The file format, physical medium, or dimensions of the resource 127 cm x 104.1 cm Type The nature or genre of the resource Oil Painting on Canvas Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Davis Museum at Wellesley College, Wellesley, United States Description An account of the resource This 1578 oil painting depicting the Holy Family is one of multiple works Fontana created of the Holy Family. Her talent for capturing the female form is prominently on display in this work, as she represents Mary from the knees up. Fontana captures Mary in a motherly motion of gently lifting her child from a crib - an action which places Jesus and Mary in the painting’s main source of light. This action plays with the religious theme of Jesus’ resurrection. Note the characteristically Baroque representation of baby Jesus with a plump, clearly defined, and large child. Joseph fades into a background with ornate drapery which extends to connect the Holy family with St. Francis, establishing a vertical axis. This drapery is actually a funeral shroud which increases the painting’s interplay between life and death. The crib resting upon a flat, cloth-covered table also invokes the Catholic celebration of the Eucharist which is a remembrance of Jesus’ sacrifice and worship of his grace. Fontana embraces these themes and masterfully uses one of her primary skills of painting fabrics to unite the symbols. Following the lines traced by the cloth embroidering, the left half of the painting shows Saints Margaret and Francis admiring the Child. Their presence adds to the juxtaposition of life and death within the painting. St. Margaret is the patron saint of expectant mothers, and Francis is holding a crucifix with visible stigmata - both iconography of Jesus’ death. Fontana continues this juxtaposition artistically, with a bright foreground givind way to the dark background. Fontana successfully sets this painting as an illusion to Nativity scenes with the crib on a table physically separating the Holy Family and followers of the Christ, much as the manger did. However, in keeping with the Baroque style, Jesus is dynamically blessing St. Margaret and not a passive object of subjects’ and the viewer’s gaze. Fontana elects to primarily reveal the facial expressions of the women and Jesus in the painting, as the men are both only shown with a side profile. The foreground dealing with childbirth could potentially reflect her own preoccupations, as she gave birth twice in the year of this painting’s creation, although both children passed away shortly after their birth. Lastly, Fontana’s signature is unmistakably set along the embroidering on the table cover. Publisher An entity responsible for making the resource available maker: Fontana, Lavinia (Italian, b. 1552, Bologna, Papal States (now Italy)-d. 1614, Rome). Holy Family with Saints Margaret and Francis. Images, n.d. https://jstor.org/stable/community.10590178. https://www.baroque.dahvc.org/fall-2021/files/original/Lavinia_Fontana_s_Work_and_Comparison_Pieces/Portrait_of_a_Nun/HMPS_SCAG_3-001.jpg 112e42dca76d6472f549b6df31a22b2e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lavinia Fontana's Work and Comparison Pieces Description An account of the resource A swath of work by Lavinia Fontana and other comparative artists.. Her powerful and bold depictions of female noblewomen, biblical figures, and self portraiture contrast her contemporaries. Through such juxtaposition, Fontana emerges as a representation and an advocate for women's equality in the arts. Creator An entity primarily responsible for making the resource Lavinia Fontana Source A related resource from which the described resource is derived TODO Publisher An entity responsible for making the resource available TODO Date A point or period of time associated with an event in the lifecycle of the resource 1552 - 1614 Contributor An entity responsible for making contributions to the resource M Greenstein, E Henne, J Chen, K Campbell Format The file format, physical medium, or dimensions of the resource mixed, jpg, oil, copper Type The nature or genre of the resource Paintings Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant TODO Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Painting Physical Dimensions The actual physical size of the original image 68.5 x 53.3 cm Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Portrait of a Nun Description An account of the resource 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. Creator An entity primarily responsible for making the resource Sofonisba Anguissola Source A related resource from which the described resource is derived 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. Publisher An entity responsible for making the resource available Unknown Date A point or period of time associated with an event in the lifecycle of the resource 1551 Contributor An entity responsible for making contributions to the resource Michael Greenstein Rights Information about rights held in and over the resource 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 The file format, physical medium, or dimensions of the resource 68.5 x 53.3 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Southampton City Art Gallery https://www.baroque.dahvc.org/fall-2021/files/original/Lavinia_Fontana_s_Work_and_Comparison_Pieces/Self-portrait/IMG_0322.JPG 272adac610fd73a9d12b7b6a06d00d18 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lavinia Fontana's Work and Comparison Pieces Description An account of the resource A swath of work by Lavinia Fontana and other comparative artists.. Her powerful and bold depictions of female noblewomen, biblical figures, and self portraiture contrast her contemporaries. Through such juxtaposition, Fontana emerges as a representation and an advocate for women's equality in the arts. Creator An entity primarily responsible for making the resource Lavinia Fontana Source A related resource from which the described resource is derived TODO Publisher An entity responsible for making the resource available TODO Date A point or period of time associated with an event in the lifecycle of the resource 1552 - 1614 Contributor An entity responsible for making contributions to the resource M Greenstein, E Henne, J Chen, K Campbell Format The file format, physical medium, or dimensions of the resource mixed, jpg, oil, copper Type The nature or genre of the resource Paintings Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant TODO Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Self-portrait Subject The topic of the resource A self-portrait of Sofonisba Anguissola Description An account of the resource This self-portrait of Sofonisba Anguissola depicts the artist seated at a keyboard and accompanied by an older maidservant. Anguissola wears a dark brown, somewhat unembellished gown with a small frilled collar and cuffs. She sits very tall and poised, facing and making eye contact with the viewer, and her face and hands are the brightest points in the image. The maidservant is more dimly lit but still appears very close to the foreground, as if sitting directly beside Anguissola. The figures are set against a nondescript background whose color gradation accentuates the focus to the right of the image, where Anguissola sits. Several physical and background elements of this portrait are almost identical to Fontana's "Self-portrait at the Clavichord." The primary female figure dominates the foreground as she sits at her instrument, and a female servant supports her as a background character. The artist supports both a female ideal of beauty and the skill needed to properly express that beauty in the art of painting. The most striking difference between the two self-portraits is the overall presentation of the woman in her space. Fontana's portrait sets her in her chambers, well-dressed and inviting interest with the details of her surroundings. She is visibly well-off and is willing to assert her place as both female nobility and artist. The background of Anguissola's portrait is bare, apart from color variation, and Anguissola herself is dressed more plainly and in more neutral colors. These contrasting elements may be a result of the intended audience for each portrait; Anguissola's place as a courtier likely influenced the poised but not exuberant portrayal of herself, as compared to Fontana's bright, warm, context-laden likeness. Creator An entity primarily responsible for making the resource Sofonisba Anguissola (1532-1625) Source A related resource from which the described resource is derived McIver, Katherine A. “Lavinia Fontana’s ‘Self-Portrait Making Music.’” Woman’s Art Journal 19, no. 1 (1998): 3–8. https://doi.org/10.2307/1358647. This source draws several comparisons between Fontana’s Self-Portrait Making Music and Sofonisba Anguissola’s portrait of similar name and subject matter. Both indicate a gentildonna appropriately well-versed in the arts--both painting and musicianship--actively using their artistic talents while accompanied by a maidservant. Several distinctions, including the subject’s clothing, the setting surrounding the figures, and the color scheme of the painting as a whole, contrast Fontana’s and Anguissola’s work and give insight into the purpose and context for which the portraits were created. Publisher An entity responsible for making the resource available Sofonisba Anguissola (Italian painter, ca. 1532-1625 ). creation: 1561. Self-portrait. painting, paintings. https://library.artstor.org/asset/AMCADIG_10312186652. Date A point or period of time associated with an event in the lifecycle of the resource Created 1561 Contributor An entity responsible for making contributions to the resource Eliza Henne Rights Information about rights held in and over the resource Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility. Format The file format, physical medium, or dimensions of the resource Oil on canvas, 83 x 65 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Minneapolis College of Art and Design Collection, Minneapolis, Minnesota, USA. https://www.baroque.dahvc.org/fall-2021/files/original/Lavinia_Fontana_s_Work_and_Comparison_Pieces/Self-portrait_at_the_Clavichord/IMG_0321.JPG 0636bb3240a4c6ec19ea88dd1f88d838 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lavinia Fontana's Work and Comparison Pieces Description An account of the resource A swath of work by Lavinia Fontana and other comparative artists.. Her powerful and bold depictions of female noblewomen, biblical figures, and self portraiture contrast her contemporaries. Through such juxtaposition, Fontana emerges as a representation and an advocate for women's equality in the arts. Creator An entity primarily responsible for making the resource Lavinia Fontana Source A related resource from which the described resource is derived TODO Publisher An entity responsible for making the resource available TODO Date A point or period of time associated with an event in the lifecycle of the resource 1552 - 1614 Contributor An entity responsible for making contributions to the resource M Greenstein, E Henne, J Chen, K Campbell Format The file format, physical medium, or dimensions of the resource mixed, jpg, oil, copper Type The nature or genre of the resource Paintings Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant TODO Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Self-portrait at the Clavichord Subject The topic of the resource A self-portrait of Lavinia Fontana Description An account of the resource This self-portrait of Lavinia Fontana depicts the artist playing the clavichord, an appropriately cultured activity for a rising noblewoman. The seated Fontana is resplendent in an intricate red gown decorated with jewels and a lace collar. Brightly lit and assertive in the foreground of the image, she looks directly at the viewer and engages with them as she plays. A maidservant enters in the middle ground in a dynamic gesture; she is leaned forward towards Fontana as she holds a book of sheet music. In the background, a small, empty easel makes reference to Fontana's artistic profession. The text in the top left corner names Fontana as the artist, confirms her status as a virgin, and dates the piece. This portrait was created for Fontana's intended father-in-law, Severo Zappi, and makes several allusions to the marriage and its social implications. Her red dress quotes the traditional Bolognese wedding gowns of the time, and a small red love knot is visible sitting on the clavichord. Her expensive clothing, musical knowledge, and access to servants affirm her well-off social standing. Apart from consideration of the intended audience, Fontana portrays herself as the ideal form of the woman artist at the time: she is both beautiful as a woman and talented in expressing that beauty. She asserts her "gentildonna" status and participates in activities befitting such a status. The inclusion of the easel signifies her ownership of her artistic profession, a growing trend in self-portraiture for artists of the time. Creator An entity primarily responsible for making the resource Lavinia Fontana (1552-1614) Source A related resource from which the described resource is derived Bohn, B. (2004), Female self-portraiture in early modern Bologna. Renaissance Studies, 18: 239-286. https://doi.org/10.1111/j.0269-1213.2004.00057.x This source gives a chronological overview of female artists of sixteenth- and seventeenth-century Bologna and their practices regarding self-portraiture. It provides comparisons both between these women’s portraits and between female self-portraits and their male contemporaries. One section of the essay examines Lavinia Fontana’s five self-portraits--four paintings and one drawing--including the Self-Portrait at the Clavichord, referenced here as Self-Portrait at the Keyboard. Bohn expands on the portrait’s background, including its purpose as a self-promotion to Fontana’s future father-in-law and its assertion of the woman as a professional artist. McIver, Katherine A. “Lavinia Fontana’s ‘Self-Portrait Making Music.’” Woman’s Art Journal 19, no. 1 (1998): 3–8. https://doi.org/10.2307/1358647. This source contrasts Fontana’s Self-Portrait at the Clavichord, here titled Self-Portrait Making Music, with other portraits of her time which featured the artist pictured with musical instruments. Musical instruments included in portraiture relate to the ideals of the figure in a cultured society, in terms of both gender and profession; the standards for artistic and educational merit were high among the nobility of Bologna. Here, Fontana stands out as not only a virtuous, well-educated woman but also as an active participant in her artistic trade and a model for the commodified female self-portrait. Publisher An entity responsible for making the resource available Lavinia Fontana, 1552-1614. 1577. Self-portrait at the Clavichord. Place: Accademia nazionale di San Luca. https://library.artstor.org/asset/ARTSTOR_103_41822003064654. Date A point or period of time associated with an event in the lifecycle of the resource Created 1577 Contributor An entity responsible for making contributions to the resource Eliza Henne Rights Information about rights held in and over the resource The Service Platform and Content. The Service platforms and any trademarks, issued patents, and patent applications, copyrights and copyright registrations and applications, rights in ideas, designs, works of authorship, derivative works, and all other intellectual property rights (collectively, “Intellectual Property”) relating to the Service platforms are proprietary to ITHAKA and all Intellectual Property related to the Content provided by ITHAKA’s participating libraries, universities, publishers, scholarly societies, and other Content contributors are proprietary to them, subject to the rights of third parties. Format The file format, physical medium, or dimensions of the resource Oil on canvas, 27 x 24 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Accademia nazionale di San Luca, Rome, Italy. https://www.baroque.dahvc.org/fall-2021/files/original/Lavinia_Fontana_s_Work_and_Comparison_Pieces/Portrait_of_a_Noblewoman/ARTSTOR_103_41822003064704.jpg 6009153bf2089903d4a5a8903df6a5cb Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lavinia Fontana's Work and Comparison Pieces Description An account of the resource A swath of work by Lavinia Fontana and other comparative artists.. Her powerful and bold depictions of female noblewomen, biblical figures, and self portraiture contrast her contemporaries. Through such juxtaposition, Fontana emerges as a representation and an advocate for women's equality in the arts. Creator An entity primarily responsible for making the resource Lavinia Fontana Source A related resource from which the described resource is derived TODO Publisher An entity responsible for making the resource available TODO Date A point or period of time associated with an event in the lifecycle of the resource 1552 - 1614 Contributor An entity responsible for making contributions to the resource M Greenstein, E Henne, J Chen, K Campbell Format The file format, physical medium, or dimensions of the resource mixed, jpg, oil, copper Type The nature or genre of the resource Paintings Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant TODO Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Painting Physical Dimensions The actual physical size of the original image 133 x 88 cm Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Portrait of a Noblewoman Description An account of the resource Lavinia Fontana was born and educated in Bologna towards the end of the 16th century. During this time, Bologna was remarkably progressive, compared to other Italian cities, regarding its opportunities for women – both educationally and economically. Indeed, Fontana herself earned a dottoressa in 1580 from the University of Bologna (McIver 1998). This neoteric gender reform helped cultivate a flourishing class of Bolognese noblewomen who had both the time and resources to serve as the financial backbone of Fontana’s urban career. In fact, Fontana’s portraits were praised as an expression of wealth and power for this group. This specific painting depicts Lavinia Fontana’s intimate relationship with the gentildonne Bolognesi – the Bolognesi noblewomen (Muprhy 1996). While the exact subject of the painting is unknown, the subject is easily recognized as a soon-to-be-wed maiden. The regal, red dress is characteristic of Bolognese wedding gowns of the time (Murphy 1996). The meticulous and colorful brushwork of the subject in the foreground is starkly juxtaposed to the dull, monotone background. This distinction is furthered when considering the intricate jewelry and design. The subject wears a golden chain coalescing into a bejeweled brooch of various rare gems. Fontana’s excruciatingly delicate detailing of the jewelry is characteristic of her noblewomen portraits. Moreover, it is acknowledged that Fontana developed this stylistic element from her father, a painter himself. The status and wealth of the subject are more explicitly denoted by the presence of the cane Bolognese – a costly pet that symbolized prestige. Creator An entity primarily responsible for making the resource Lavinia Fontana Source A related resource from which the described resource is derived Borenius, Tancred. “A Portrait by Lavinia Fontana.” The Burlington Magazine for Connoisseurs 41, no. 232 (1922): 41–40. http://www.jstor.org/stable/861450. Fontana, Lavinia, 1552-1614. c.1584. Portrait of a Noblewoman. Place: National Museum of Women in the Arts (U.S.). https://library.artstor.org/asset/ARTSTOR_103_41822003064704. McIver, Katherine A. “Lavinia Fontana’s ‘Self-Portrait Making Music.’” Woman’s Art Journal 19, no. 1 (1998): 3–8. https://doi.org/10.2307/1358647. Murphy, Caroline Patricia. “Lavinia Fontana: An Artist and Her Society in Late Sixteenth Century Bologna.” Dissertation, ProQuest LLC, 1996. Murphy masterfully follows the painting career of Lavinia Fontana. Specifically, she pays notice to the many influences that shaped Fontana’s career during the turn of the 17th century in Bologna. Murphy utilizes a hypothesis-driven analysis technique where instead of recounting Fontana’s life, she explores what factors allowed for her artistic success to occur. This leads to Murphy’s use of a thematic analysis roadmap instead of traditional chronological narration. The third chapter provides an astute investigation into a large portion of Fontana’s financial market – the gentildonne Bolognesi or Bolognesi noblewomen. Murphy discusses the many different factors that helped form this clientele base: financial freedom, education, and personal autonomy among others. It is asserted that these factors were unique to Bologna as it was a relatively progressive city at the time in Italy. The author continues that Lavinia relied on this constant demand to fuel her urban-market workshop. Lavinia depended on commissions for her salary and thus these Bolognesi noblewomen were essential to her success as an artist. Murphy comments that Fontana’s prosperity is largely due to societal forces and movements outside of her control – a common motif found in history. Nonetheless, Fontana developed a close relationship with these noblewomen as Murphy further studies. Murphy's analysis is well-structured and supported. She relies greatly on primary source accounts of Fontana for contextualization of her arguments. Specifically, she quotes from the work of C.C. Malvasia who wrote extensive biographies on many Bolognesi artists including Fontana. This source provides critical contextualization for how Fontana was able to find success solely through commissions. Publisher An entity responsible for making the resource available Lee Stalsworth Date A point or period of time associated with an event in the lifecycle of the resource 1580 Contributor An entity responsible for making contributions to the resource Michael Greenstein Rights Information about rights held in and over the resource Fair use for student assignments, educational presentations, and student or faculty curatorial portfolios Format The file format, physical medium, or dimensions of the resource 133 x 88 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant National Museum of Women in the Arts (U.S.) https://www.baroque.dahvc.org/fall-2021/files/original/Lavinia_Fontana_s_Work_and_Comparison_Pieces/Venus_and_Cupid/f2a05278-c678-41d0-f72b-fc7e0b6e42f8.jpg 730d5128c598dee0856de1c8b3db8a11 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lavinia Fontana's Work and Comparison Pieces Description An account of the resource A swath of work by Lavinia Fontana and other comparative artists.. Her powerful and bold depictions of female noblewomen, biblical figures, and self portraiture contrast her contemporaries. Through such juxtaposition, Fontana emerges as a representation and an advocate for women's equality in the arts. Creator An entity primarily responsible for making the resource Lavinia Fontana Source A related resource from which the described resource is derived TODO Publisher An entity responsible for making the resource available TODO Date A point or period of time associated with an event in the lifecycle of the resource 1552 - 1614 Contributor An entity responsible for making contributions to the resource M Greenstein, E Henne, J Chen, K Campbell Format The file format, physical medium, or dimensions of the resource mixed, jpg, oil, copper Type The nature or genre of the resource Paintings Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant TODO Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Venus and Cupid Creator An entity primarily responsible for making the resource Cambiaso, Luca Source A related resource from which the described resource is derived Sweet, Frederick A. “Venus and Cupid by Luca Cambiaso.” Bulletin of the Art Institute of Chicago (1907-1951) 37, no. 1 (1943): 2–3. https://doi.org/10.2307/4116877. - This source first provides an overview of the Italian artist Luca Cambiaso’s professional experience and artistic style. It argues that starting with a Raphaelesque early style, Cambiaso peaks his work quality as subdued and highly finished in his middle period. Subsequently, the source provides a thorough formal analysis of Venus and Cupid. It argues that despite the classical formula of the compact composition aiming at creating a three-dimensional feeling, Cambiaso succeeded in depicting a tenderness in the relationship between Venus and Cupid, which indicates the Raphael influence on the artist. Following the discussion on the painting, the source introduces a comparative artwork: a drawing of Venus and Cupid by Cambiaso. Importantly, the source infers that Venus and Cupid belonged in the collection of Emperor Rudolph II or Queen Christina of Sweden before the 18th century. With formal analysis and historical facts as evidence, this source succinctly and significantly highlights the life and merit of the artist Luca Cambiaso. Publisher An entity responsible for making the resource available Cambiaso, Luca. “Venus and Cupid.” The Art Institute of Chicago. Painting and Sculpture of Europe. Accessed October 9, 2021. https://www.artic.edu/artworks/44816/venus-and-cupid. Date A point or period of time associated with an event in the lifecycle of the resource 1565-1575 Contributor An entity responsible for making contributions to the resource Jenny Chen Rights Information about rights held in and over the resource You are welcome to use any images with the label “CC0 Public Domain Designation” for any purpose, including commercial and noncommercial uses, free of charge and without additional permission from the museum. Although the museum is not aware of and does not believe that such images are subject to any copyright restrictions, it is the sole responsibility of the image user to identify and obtain any necessary third-party permissions, if any. The Art Institute of Chicago makes no representations or warranties of any kind concerning the images. Format The file format, physical medium, or dimensions of the resource 107.5 × 95.7 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant A. A. Munger Collection, The Art Institute of Chicago, Chicago, United States Description An account of the resource This painting was completed by the Italian Mannerist artist Luca Cambiaso (1527-1585), a leading artist in Genoa in the 16th century. The painting was done in his middle period, which was his best period when his style was more subdued and more highly finished. It is known to first belong to William Patoun's collection in the 18th century. Against an almost-black background, Venus is reclining against satin-covered cushions, holding in her lap a youthful Cupid who extends his right arm. Their nude bodies, beautifully modeled, appear in almost sculptural roundness bathed in a cold light which imparts a delicate mauve tone to the flesh. At either side are rich purple hangings, and in the foreground is Cupid's quiver of arrows, brilliant turquoise blue with red straps. At the left are two turtledoves. Though possessing the strongly marked three-dimensional feeling and compact composition so typical of Mannerist paintings, this canvas has all the elegance of a Titian together with an extraordinary and quite unique color arrangement. https://www.baroque.dahvc.org/fall-2021/files/original/Lavinia_Fontana_s_Work_and_Comparison_Pieces/Venus_and_Cupid/isabella-ruini-as-venus-1592.jpeg 3ef811ef5601e7bf4263c30ce6998a73 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lavinia Fontana's Work and Comparison Pieces Description An account of the resource A swath of work by Lavinia Fontana and other comparative artists.. Her powerful and bold depictions of female noblewomen, biblical figures, and self portraiture contrast her contemporaries. Through such juxtaposition, Fontana emerges as a representation and an advocate for women's equality in the arts. Creator An entity primarily responsible for making the resource Lavinia Fontana Source A related resource from which the described resource is derived TODO Publisher An entity responsible for making the resource available TODO Date A point or period of time associated with an event in the lifecycle of the resource 1552 - 1614 Contributor An entity responsible for making contributions to the resource M Greenstein, E Henne, J Chen, K Campbell Format The file format, physical medium, or dimensions of the resource mixed, jpg, oil, copper Type The nature or genre of the resource Paintings Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant TODO Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Venus and Cupid Description An account of the resource This is a portrait of Isabella Ruini as Venus. A transparent veil stitched with gold thread of extraordinary delicacy reveals the marmoreal body of this Venus with a slender throat and delicate features, brought out to their best advantage by jewelry of incredible sumptuousness. Cupid, hiding in the back and holding Venus' hand, is looking gently at Venus. In classical mythology, Cupid is the god of desire, erotic love, attraction, and affection. He is often portrayed as the son of the love goddess Venus and the god of war Mars. Cupid is usually shown amusing himself with adult play. He is often depicted with his mother Venus, playing a horn. Venus, the goddess of sexuality, became a popular subject of painting and sculpture during the Renaissance period in Europe. As a "classical" figure, nudity was her natural state, so it was socially acceptable to depict her unclothed. Throughout history, many famous artists have depicted Venus and Cupid together on their canvas, including Artemisia Gentileschi, Lorenzo Lotto, and Pontormo. This painting is a disguised portrait, a method of depicting the most prominent courtiers designed to glorify the aristocrat concerned. In this manner, women are portrayed in bust format, with idealized bodies depicted in the image of Diana or, as in this case, Venus. The subject here is probably a lady of the Ruini family, as suggested by a sketch of a similar-looking model by Cristoforo dell’Altissimo, conserved at the Pitti Palace in Florence. It may have been an engagement portrait sent to the future husband. According to Buckley, by depicting her patron as Venus, Fontana played with the long-standing tradition of classical revivalism in Renaissance art, so depicting Ruini nearly nude could be permitted. Creator An entity primarily responsible for making the resource Fontana, Lavinia Source A related resource from which the described resource is derived Buckley, Kat. “Lavinia Fontana: Immortalizing Morality .” Critical Perspectives in Fashion, October 2015. https://www.researchgate.net/profile/Kat-Zagaria/publication/303688203_Lavinia_Fontana_Immortalizing_Morality/links/574d968f08ae82d2c6bde109/Lavinia-Fontana-Immortalizing-Morality.pdf. - This source focuses on Lavinia Fontana’s expertise on fabric and ornamentation and how Lavinia Fontana’s depicted her patrons, the nobility of Bologna, as they wished to see themselves. Specifically, it argues that by depicting her patron as Venus in Venus and Cupid, Fontana played with the long-standing tradition of classical revivalism in Renaissance art – and thus, depicting Ruini nearly nude, could be permitted. Two major types of evidence are used: first, historical and cultural context on Fontana’s career and Bologna’s nobility in the 16th century; second, case studies of direct comparison between artworks of Fontana and her contemporaries. Publisher An entity responsible for making the resource available Fontana, Lavinia. “Venus and Cupid, 1592 - Lavinia Fontana.” www.wikiart.org, January 1, 1592. https://www.wikiart.org/en/lavinia-fontana/isabella-ruini-as-venus-1592. Date A point or period of time associated with an event in the lifecycle of the resource 1592 Contributor An entity responsible for making contributions to the resource Jenny Chen Rights Information about rights held in and over the resource This artwork is in public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 70 years or less. If you are a copyright owner of this artwork, or his/hers legal representative, and you do not agree that this artwork is public domain, please let us know wikipaintings@gmail.com WikiArt.org allows unlimited copying, distributing and displaying of the images of public domain artworks. Artworks protected by copyright are supposed to be used only for contemplation. Images of that type of artworks are prohibited for copying, printing, or any kind of reproducing and communicating to public since these activities may be considered copyright infringement. Format The file format, physical medium, or dimensions of the resource Oil on canvas, 75*60cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Musée des Beaux-Arts de Rouen, Rouen, France