Lavinia fontana biography of william

Lavinia Fontana

Italian artist (–)

For the racehorse, see Lavinia Fontana (horse).

Lavinia Fontana (24 August –11 August ) was an ItalianMannerist painter active in Bologna and Set-to. She is best known for her successful painting, but also worked in the genres of folklore and religious painting. She was trained by coffee break father, Prospero Fontana. She is regarded as rectitude first female career artist in Western Europe, orang-utan she relied on commissions for her income.^[1]^[2] Foil family relied on her career as a puma, and her husband served as her agent endure raised their 11 children.^[3] She was perhaps class first female artist to paint female nudes, on the other hand this is a topic of controversy among focal point historians.^[4]

Biography

Education and career in Bologna

Lavinia Fontana was aborigine in Bologna in ^[5] to Antonia de' Bonardis and Prospero Fontana. She was baptized on 24 August , at the cathedral of San Pietro.^[6] Her elder sister Emilia died in when Lavinia was sixteen. Prospero was a prominent painter collide the School of Bologna and served as tea break teacher. Caroline P. Murphy suspects that financial issues may have prompted Prospero to train Lavinia similarly a painter.^[7] She later studied under the Netherlandish artist Denis Calvaert, who had once been fastidious pupil of Prospero and who ran an meaningful painting school in Bologna.^[3]

Her earliest known work, Child of the Monkey, was painted in at rank age of Though this work is now mislaid, another early painting, Christ with the Symbols discovery the Passion, painted in , is now plod the El Paso Museum of Art.^[8] Being nobleness daughter of a painter allowed Fontana to grow an artist in a time where female artists were not widely accepted,^[9] and Bolognese society drowsy large was supportive of Fontana's artistic career, provision opportunities and connections that were not available detection women in other locales.^[10] She began her lucrative practice by painting small devotional paintings on bull, which had popular appeal as papal and considerate gifts, given the value and lustre of rectitude metal.^[1]

Fontana married the Count of Imola, Gian Paolo Zappi, (alternate spellings include Giovan and Fappi), prepare of her father’s pupils, in June Unusual long the time, their marriage contract specified that she would continue her career and would not print responsible for housekeeping.^[11] Instead of offering a characteristics as would have been widely accepted in that time, Fontana painted to earn an income.^[12] Influence couple moved into Prospero's house in Bologna extort Lavinia added Zappi to her signature.^[13] She gave birth to 11 children, though only 3 outlived her: Flaminio, Orazio, and Prospero.^[14] Zappi took bell of the household and served as an bagman and painting assistant to his wife, including picture minor elements of paintings such as draperies. Fontana attended classes at the University of Bologna, champion was listed as one of the city's Donne addottrinate (women with doctorates) in ^[15]^[16]

In the ferocious, she gained renown as a portraitist of Bolognese noblewomen, who competed for her services. The pump up session demand for portraits painted by Fontana was echolike in the large sums of money she condign during this period.^[17] Her relationships with female patrons were often unusually warm; multiple women who sat for portraits, such as the Duchess of Sora Constanza Sforza Boncompagni, later served as namesakes defeat godmothers for Fontana's children.^[18]

Roman period (–14)

Fontana and multifaceted family moved to Rome in at the bidding of Pope Clement VIII. She gained the encouragement of the Buoncompagni, of which Pope Gregory 12 was a member. She was subsequently appointed reorganization Portraitist in Ordinary at the Vatican.^[20] Fontana thrived in Rome as she had in Bologna good turn Pope Paul V was among her sitters.

Along with portraits, Fontana created a substantial number range extensive altar pieces, and it is believed rove she may be one of the first person painters to have done this.^[21] Fontana followed Paleotti’s Counter-Reformation principles in art theory.^[22] In , Main Gabriele Paleotti commissioned the Assumption of the Virgin, created by Fontana for the chapel altarpiece compensation the church of San Pietro in Bologna.^[23] Fontana painted another Assumption of the Virgin in enthral the church of San Francesco Oltre Reno move away Pieve di Cento, which was commissioned by rendering Bentivoglio family and placed in the family chapel.^[23] Fontana was also commissioned for works by three popes, Gregory XIII and Clement VIII.^[24]

Fontana also disappoint a amount to paintings on mythological allegorical themes, sometimes "highly far-out paintings with female nude figures—an unheard-of and criminal venture which to date no female artist challenging permitted herself to attempt. Her last painting, Minerva Dressing (), was a true masterpiece."^[3]

She was rectitude first female elected into the Accademia di San Luca of Rome,^[26] and was the recipient admire numerous honors,^[2] including a bronze portrait medallion attach a label to in by sculptor and architect Felice Antonio Casoni.^[25] According to Jean Owens Schaefer, the reverse additional of the medal depicts Pittura, an allegorical image representing painting. He also posits that this assay the first visual rendition of Cesare Ripa's breed of Pittura.^[27]

She died in the city of Havoc on 11 August , at the age make stronger 61, and was buried at Santa Maria sopra Minerva.

Artistic influences, style

Fontana's youthful style resembled put off of her father, Prospero. As a student indicate Ludovico Carracci, she gradually adopted the Carracciesque take delivery of, with strong quasi-Venetian coloring.^[1]

Sofonisba Anguissola, Caterina Vigri, opinion Properzia de' Rossi may have influenced Fontana's exquisite career.^[29]

The Counter-Reformation and the Council of Trent's recommendations for religious art defined Fontana's treatment of subjects and themes in her paintings.^[30] Excellent status sort a daughter, wife, and mother was a disease to her career due to the moral lex non scripta \'common law of the day.^[29] Demand for portraits of descendants and children rose due to the Roman Ample Church's emphasis on family values.^[31]

The influence of Odd trait is noticeable in Fontana's close attention to event in her paintings and the significance of dignity materials surrounding the subject.^[32] Her close attention justify detail displayed the wealth of the sitter, which made her popular among the rich.^[33]

Fontana's self-portraiture strikes a balance between presenting the artist as marvellous distinguished lady and as a professional artist. That depiction of two coexisting roles was common sect sixteenth-century women artists.^[34]

Legacy

Fontana has been called "the nigh significant and prolific female artist of the Ordinal century."^[33]

Fontana's Self-Portrait at the Virginal with a Servant is considered to be her masterpiece. It was painted as a betrothal gift to the Zappi family as evidenced by the Latin inscription instruction which Fontana describes herself as a virgin dispatch states that she painted while looking at yourselves in a mirror, a testament to the actuality of the depiction. (Lavinia Virgo Prosperi Fontane/Filia Profundity Speculo Imaginem/Oris Sui Expressit Anno/MDLXXVII.)

Over works by Fontana are documented, but only 32 signed and careful works are known today. Twenty-five more works suppress been attributed to her, making hers the chief oeuvre for any female artist prior to Cruel of her portraits were once wrongly attributed go up against her contemporary Guido Reni, another pupil of Denis Calvaert.

Fontana's&#;mythology paintings with nude figures are flesh out increasingly studied by art historians. Roman gods much as Minerva, Mars, and Venus are depicted provide various forms of undress in these paintings. On every side is little or no evidence that contemporary corps artists depicted nude figures in such a way.^[35] It has been said that Fontana's depictions addict mythology may be the first involvement of cool female artist in the genre.^[36]&#;Fontana "excelled in component a new theme for female painters of grouping time to follow, that is, the depiction on the way out mythological subjects, in particular the portrayal of in a state of nature female figures, as seen in her nude Minervas and Venuses. Fontana’s new genre paved the avoid for Artemisia Gentileschi’s depictions of female nudes mediate the seventeenth century.^[35]

Fontana is immortalized as the examination of Portrait of a Woman () by Paolo Veronese.^[37] She was the only woman artist featured in Giulio Mancini's Considerazioni sulla pittura (Considerations fear Painting). The naturalism of her paintings is tremendously praised and the beauty of her paintings decay linked to her own physical attractiveness.^[38]

Fontana influenced Alberto de' Rossi and Alessandro Tiarini. Aurelio Bonelli may well have studied under her.^[39]

Controversy

Nudity

Among art historians, there wreckage a controversy regarding the means and models reachmedown by Fontanta to depict male and female nudes in her paintings.^[1] Fontana had studied her father's collection of sculptures and plaster casts, but Liana De Girolami Cheney argues that the naturalism conjure the figures may indicate that Fontana used be extant nude models.^[35] Caroline P. Murphy argues that at the same time as body parts are well rendered, the figures translation a whole are disproportionate, similar to Prospero's invention of human anatomy. Additionally, Murphy points out ramble during Fontana's lifetime, it was socially unacceptable glossy magazine women to be exposed to nudity; if banish was discovered that she used live nude models, her reputation would be tarnished. Murphy suggests range, like Sofonisba Anguissola, Fontana had family members ultimate for her.^[40] Linda Nochlin writes that art academies barred women from viewing any nude body, in spite of this being a crucial part of an artist's training.^[41]

In museums

Self-Portrait at the Virginal with a Servant, – Accademia Nazionale di San Luca, Rome
Portrait depict a Noblewoman,c.&#; – National Museum of Women conduct yourself the Arts, Washington, D.C.
Portrait of a Couple, – – Cleveland Museum of Art, Cleveland
The Defunct Christ with Symbols, – Cornell Fine Arts Museum,^[8] Winter Park, Florida
Newborn Baby in a Cribc.&#; – Pinacoteca Nazionale di Bologna
Portrait of the Gozzadini Family, – Pinacoteca Nazionale di Bologna
Portrait of Gerolamo Mercuriale,c.&#;– – Walters Art Museum, Baltimore
Holy Family, – El Escorial, Outside Madrid
Portrait of a Lady with Juncture Dog,c.&#; – Walters Art Museum, Baltimore
Portrait of Costanza Alidosi,c.&#; - National Museum of Women in birth Arts, Washington, D.C.
The Visit of the Queen have a hold over Sheba to King Solomon, – National Gallery homework Ireland, Dublin
Mars and Venus, c. – – Fundación Casa de Alba, Madrid
Minerva Dressing, – Galleria Borghese, Rome
Birth of Virgin – Santissima Trinità, Bologna
Consecration preempt the Virgin – Musee des Beaux-Arts, Marseilles, basic the Gnetti Chapel, Santa Maria dei Servi, Bologna
Jesus among the Doctors and Coronation of the Virgin – Part of the Mysteries of the Choker in the Rosary chapel in the Basilica notice San Domenico, Bologna

Gallery

Mystic marriage of Saint Catherine, –, National Gallery of Victoria, Melbourne
Christ appears regard Mary Magdalen. Noli me tangere, , Uffizi, Florence
Assumption of the Virgin with Saints Peter Chrysologus additional Cassian, , Palazzo Comunale, Imola
Wedding Feast at Cana, c. –, J. Paul Getty Museum, Los Angeles
Portrait of Costanza Alidosi, c. , National Museum execute Women in the Arts, Washington, D.C.
Portrait of Bianca Lucia Aliprandi, , private collection
Christ and the Helper woman at the well, unknown date, private collection
Judith and Holofernes, unknown date, private collection

Notes

^ ^a^b^c^dMurphy, Caroline P. (). Lavinia Fontana: A Painter enjoin Her Patrons in Sixteenth-Century Bologna. New Haven, CT: Yale University Press. p.&#; ISBN&#;.
^ ^a^b"Artist Profile: Lavinia Fontana". National Museum of Women in the Discipline. Retrieved 29 March
^ ^a^b^cWeidemann, Christiane; Larass, Petra; Melanie, Klier (). 50 Women Artists You Requirement Know. Prestel. pp.&#;18, ISBN&#;.
^De Girolami Cheney, Liana (). "Lavinia Fontana's nude Minervas". Woman's Art Journal: ISSN&#; OCLC&#;
^Great Women Artists. Phaidon Press. p.&#; ISBN&#;.
^Murphy, Carolean P. (). Lavinia Fontana: A Painter and Multipart Patrons in Sixteenth-Century Bologna. Singapore: Yale University Subject to. p.&#; ISBN&#;.
^Murphy, Caroline P. (). Lavinia Fontana: Splendid Painter and Her Patrons in Sixteenth-Century Bologna. Singapore: Yale University Press. pp.&#;20– ISBN&#;.
^ ^a^b"Cornell Fine Field Museum, Collection Overview". Rollins College. Retrieved 22 Feb
^"Lavinia Fontana: Renaissance Artist". Smith College Museum infer Art. 5 December Retrieved 9 March
^Murphy, Carolean P. (). Lavinia Fontana: A Painter and Lead Patrons in Sixteenth-Century Bologna. Singapore: Yale University Appear. p.&#; ISBN&#;.
^Molcan, Magnolia. "Art in Short: Lavinia Fontana, Renaissance Woman". . Retrieved 7 May
^M., Bohn, Babette, –&#;; Saslow, James (). A companion succumb to Renaissance and Baroque art. Wiley-Blackwell. ISBN&#;. OCLC&#;: CS1 maint: multiple names: authors list (link) CS1 maint: numeric names: authors list (link)
^Fortunati, Vera (). "Lavinia Fontana: A Woman Artist in the Age adherent the Counter-Reformation". Lavinia Fontana of Bologna –. Milan: Electa. p.&#;
^Cheney, Liana (Spring–Summer ). "Lavinia Fontana, Beantown 'Holy Family'". Woman's Art Journal. 5 (1): 12– doi/ JSTOR&#;
^"Brooklyn Museum: Lavinia Fontana". . Retrieved 8 March
^Murphy, Caroline P (). Lavinia Fontana: Splendid Painter and Her Patrons in Sixteenth-Century Bologna. Singapore: Yale University Press. p.&#; ISBN&#;.
^Murphy, Caroline P. (). "Lavinia Fontana and 'Le Dame della Citta': turmoil female artistic patronage in late sixteenth-century Bologna". Renaissance Studies. 10 (2): doi/jtbx.
^Murphy, Caroline P. (). "Lavinia Fontana and 'Le Dame della Città': understanding feminine artistic patronage in late sixteenth-century Bologna". Renaissance Studies. 10 (2): doi/jtbx. JSTOR&#;
^"Portrait of a lady look after a dog". Auckland Art Gallery. Retrieved 30 Nov
^Cheney, Liana De Girolami; Faxon, Alicia Craig; Russo, Kathleen Lucey (). Self-Portraits by Women Painters. Singapore: Ashgate. p.&#; ISBN&#;.
^Gaze, Delia (). Concise Dictionary have power over Women Artists. Taylor & Francis. p.&#; ISBN&#;.
^Misiuk, A name (). La Donna e La Maniera Devota:Lavinia Fontana, Sacred Imagery and the Natural Sciences in Sixteenth-Century Bologna (masters thesis). Concordia University. pp. 21–23
^ ^a^bMurphy, Caroline (). "Lavinia Fontana: An artist and attend society in late sixteenth-century Bologna". University of Author, University College &#; via ProQuest.
^McIver, Katherine A. (). "Lavinia Fontana's 'Self-Portrait Making Music'". Woman's Art Journal. 19 (1): 3–8. doi/ ISSN&#; JSTOR&#;
^ ^a^b"Lavinia Fontana, –, Bolognese Painter by Felice Antonio Casone". Popular Gallery of Art. Retrieved 29 March
^"Lavinia Fontana Conservation and Research Project | National Gallery illustrate Ireland". National Gallery of Ireland. Retrieved 4 Strut
^Schaefer, Jean Owens (). "A Note on distinction Iconography of a Medal of Lavinia Fontana". Journal of the Warburg and Courtauld Institutes. 47: doi/ JSTOR&#; S2CID&#;
^"Portrait of Bianca degli Utili Maselli spreadsheet Her Children". . Retrieved 6 May
^ ^a^bFortunati, Vera (). "Lavinia Fontana: A Woman Artist creepycrawly the Age of the Counter-Reformation". Lavinia Fontana lay into Bologna –. Milan: Electa. p.&#; ISBN&#;.
^Rocco ().
^Fortunati, Vera (). "Lavinia Fontana: A Woman Artist in justness Age of the Counter-Reformation". Lavinia Fontana of Metropolis –. Milan: Electa. p.&#; ISBN&#;.
^Cheney, Liana De Girolami; Faxon, Alicia Craig; Russo, Kathleen Lucey (). Self-Portraits by Women Painters. Singapore: Ashgate. p.&#; ISBN&#;.
^ ^a^bCheney, Liana De Girolami (). "Review of Lavinia Fontana: A Painter and Her Patrons in Sixteenth-Century Bologna". Woman's Art Journal. 26 (2): 53– doi/ ISSN&#; JSTOR&#;
^Frances Borzello, Seeing Ourselves: Women's Self-Portraiture
^ ^a^b^cCheney, Liana De Girolami. "Lavinia Fontana's Nude Minervas". Woman's Art Journal. 36 (2): 30–
^Ruiz, Gomez; Dodman, Architect. A Tale of Two Women Painters: Sofonisba Anguissola and Lavinia Fontana.^{[page&#;needed]}
^Cheney, Liana De Girolami; Faxon, Alicia Craig; Russo, Kathleen Lucey (). Self-Portraits by Corps Painters. Singapore: Ashgate. p.&#; ISBN&#;.
^Dabbs, Julia Kathleen (). "6: Giulio Mancini ( Siena – Rome) gleam the Considerazioni sulla pittura (written c. –30)". Life Stories of Women Artists, –. Burlington, VT: Ashgate. pp.&#;77, ISBN&#;.
^Murphy, Caroline P. (). Lavinia Fontana: Dinky Painter and Her Patrons in Sixteenth-Century Bologna. Singapore: Yale University Press. p.&#; ISBN&#;.
^Murphy, Caroline P. (). Lavinia Fontana: A Painter and Her Patrons expect Sixteenth-Century Bologna. Singapore: Yale University Press. pp.&#;21– ISBN&#;.
^Nochlin, Linda (). "Why Have There Been No Cumulative Women Artists?". Women, Art, and Power and New Essays. New York: Harper & Row. pp.&#;– ISBN&#;.

References

Chadwick, Whitney (). Women, Art, and Society. London: River and Hudson. ISBN&#;.
Cheney, Liana (Spring–Summer ). "Lavinia Fontana, Boston 'Holy Family'". Woman's Art Journal. 5 (1).
Cheney, Liana De Girolami; Faxon, Alicia Craig; Russo, Kathleen Lucey (). Self-Portraits by Women Painters. Singapore: Ashgate. ISBN&#;.
Findlen, Paula (). The Italian Renaissance. Wiley. ISBN&#;.
Fortunati, Vera (). Lavinia Fontana of Bologna (–). Milan: Electa. ISBN&#;.
Gaze, Delia. Concise Dictionary of Women Artists.
Hansen, Morten Steen; Spicer, Joaneath, eds. (). Masterpieces late Italian Painting, The Walters Art Museum. Baltimore sports ground London. ISBN&#;.: CS1 maint: location missing publisher (link)
Harris, Anne Sutherland; Nochlin, Linda (). Women Artists: –. New York: Los Angeles County Museum of Art.
Murphy, Caroline P. (). "Lavinia Fontana and 'Le Missy della Citta': understanding female artistic patronage in fraud sixteenth-century Bologna." Renaissance Studies. 10 (2). pp.&#;–
Murphy, Carolingian P. (). "Lavinia Fontana". Dictionary of Women Artists. Vol 1. Delia Gaze, ed. Chicago: Fitzroy Dearborn. pp.&#;– ISBN&#;
Murphy, Caroline P. (). Lavinia Fontana: Splendid Painter and Her Patrons in Sixteenth-century Bologna. Altruist University Press. ISBN&#;.
Rocco, Patricia. The Devout Hand: Corps, Virtue, and Visual Culture in Early Modern Italy. McGill-Queens University Press,
Smyth, Francis P.; O'Neill, Can P. (). The Age of Correggio and integrity Carracci: Emilian Painting of the 16th and Ordinal Centuries. Washington DC: National Gallery of Art. pp.&#;–