2 10 149 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 My collection 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 L'entrée de l'Empereur Sigismond a Mantouë: gravé en vingt cinq feuilles, d'après une longue frise exécutée en stuc dans le palais du T. de la même ville, sur un dessin de Jules Romain Subject The topic of the resource Artist and Engraver Description An account of the resource Engravings modeled after the Palazzo del Te Creator An entity primarily responsible for making the resource Stella, Antoinette Source A related resource from which the described resource is derived Lisa Unger Baskin Collection, Rubenstein Rare Book & Manuscript Library, Duke University. Accessed September 23, 2021, https://exhibits.library.duke.edu/exhibits/show/baskin/item/4055 Publisher An entity responsible for making the resource available L'entrée de l'Empereur Sigismond a Mantouë: gravé en vingt cinq feuilles, d'après une longue frise exécutée en stuc dans le palais du T. de la même ville, sur un dessin de Jules Romain, Paris: Chez Joubert, graveur et marchand d'estampes, [ca. 1787] Date A point or period of time associated with an event in the lifecycle of the resource 1675 Contributor An entity responsible for making contributions to the resource Jason Post Format The file format, physical medium, or dimensions of the resource 16.5x40cm Language A language of the resource French Type The nature or genre of the resource Painting/ Engraving Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Paris, France https://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 https://baroque.dahvc.org/fall-2021/files/original/Self_Portrait_as_the_Allegory_of_Painting/Self-portrait_as_the_Allegory_of_Painting_[La_Pittura]_-_Artemisia_Gentileschi-1.jpg 85d064a92b28ebe7eaf8d9016e56e483 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 as the Allegory of Painting Subject The topic of the resource Self-portrait of Artemisia Gentlileschi. She portrays herself in the act of painting. Description An account of the resource In this work, Gentileschi depicts herself in the act of painting. Gentileschi most likely completed this painting during her brief English sojourn (1638-c.1641) where she was invited by Charles I to join her father Orazio Gentileschi who had been working in London since 1926. We see Gentileschi engaging in painting with a brush on one hand and an art palette on the other. She is shown wearing a gold chain and wears a green garment with paint splatters, alluding to her dedication as an artist. She is surrounded by a brown background which could represent the blank canvas she's about to draw on. Gentileschi depicts herself as the embodiment of the allegory of art. Here, Gentileschi follows the Iconologia of Cesare Ripa, an influential emblem book of the time that represented the art of painting as a beautiful woman "with full black hair" wearing a "chain of gold at her throat which hangs a mask, and has written in front imitation." She applies these descriptions of the art of painting in her self-portrait. She's drawn with unruly locks of hair which represent her frenzied, passionate state as an artist Creator An entity primarily responsible for making the resource Artemisia Gentileschi Source A related resource from which the described resource is derived Garrard, Mary D. “Artemisia Gentileschi’s Self-Portrait as the Allegory of Painting.” The Art Bulletin 62, no. 1 (1980): 97–112. https://doi.org/10.2307/3049963 Mary D. Garrad’s piece “Artemisia Gentileschi’s Self-Portrait as the Allegory of Painting.” analyzes the historical significance behind Gentileschi’s painting “Self Portrait as the Allegory of Painting.'' Gerrad argues that with this piece, Gentileschi was able to accomplish an art feat that no male artist could ever achieve. In the Renaissance, the allegory of painting was depicted as a female figure who represented the tradition of painting. Here, in this piece, paints herself as the allegory of painting, arguing that she symbolizes the art of painting itself. Many men tried to do this with their own self-portraits but because of their gender, they could never directly represent themselves as the allegory of painting like Gentileschi. She argues this point by comparing different male self-portraits from artists like Titian and Antonio Mario to Gentlischi’s self-portraits, explaining the greater success of Gentileschi's portrait “Artemisia Gentileschi (Rome 1593-Naples 1652) - Self-Portrait as the Allegory of Painting (La Pittura).” Royal Collection Trust. Accessed October 12, 2021. https://www.rct.uk/collection/405551/self-portrait-as-the-allegory-of-painting-la-pittura. The National Gallery, London. “Artemisia Gentileschi.” The National Gallery. Accessed October 12, 2021. https://www.nationalgallery.org.uk/artists/artemisia-gentileschi. Publisher An entity responsible for making the resource available The National Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1638-9 Contributor An entity responsible for making contributions to the resource Sofia Silvosa Format The file format, physical medium, or dimensions of the resource 114.5 x 90.4 x 7.6 cm (frame, external) Type The nature or genre of the resource Oil 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 British Loyal Collection https://baroque.dahvc.org/fall-2021/files/original/Antonio_Moro_s_Self_Portrait/Anthonis_Mor_Self_Portrait_1558.jpg 7fbf0df62e8d55c6c41276f3c1a70c87 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 Antonio Moro's Self Portrait Subject The topic of the resource Comparison piece to Gentileschi's Self-Portrait Description An account of the resource In the 1500s, there was a rise of artworks that represented this theme of the allegory of art or "pittura." It's crucial to understand that before the sixteenth century painting was not considered a liberal art and was not considered an intellectual pursuit. Thus, in the Rennaisance period, we see a movement to push for the art of painting to be considered a liberal art and to be considered a valuable, sophisticated endeavor. Thus many artists began to create paintings that glorified the art of painting; it was a form of propagandizing the status of art and at the same time glorified the artist themselves. Many artists did this through self-portraits which functioned to glorify their status as artists and showed them in the act of painting. An example of this is Antonio Moro's "Self-Portrait" from 1558. In this work, the artist is shown standing before his easel. He holds his paint brushed and easel with one hand and gazes at us. He stands before a blank canvas and wears sophisticated, fine clothes. Creator An entity primarily responsible for making the resource Antonio Moro Source A related resource from which the described resource is derived Garrard, Mary D. “Artemisia Gentileschi’s Self-Portrait as the Allegory of Painting.” The Art Bulletin 62, no. 1 (1980): 97–112. https://doi.org/10.2307/3049963. Mary D. Garrad’s piece “Artemisia Gentileschi’s Self-Portrait as the Allegory of Painting.” analyzes the historical significance behind Gentileschi’s painting “Self Portrait as the Allegory of Painting.'' Gerrad argues that with this piece, Gentileschi was able to accomplish an art feat that no male artist could ever achieve. In the Renaissance, the allegory of painting was depicted as a female figure who represented the tradition of painting. Here, in this piece, paints herself as the allegory of painting, arguing that she symbolizes the art of painting itself. Many men tried to do this with their own self-portraits but because of their gender, they could never directly represent themselves as the allegory of painting like Gentileschi. She argues this point by comparing different male self-portraits from artists like Titian and Antonio Mario to Gentlischi’s self-portraits, explaining the greater success of Gentileschi's portrait. Fredericksen, Burton B. “A New Portrait by Anthonis Mor.” The J. Paul Getty Museum Journal 6/7 (1978): 13–22. http://www.jstor.org/stable/4166384. Woodall, Joanna. Anthonis Mor: art and authority. Brill, 2016. Publisher An entity responsible for making the resource available Wikimedia Commons Date A point or period of time associated with an event in the lifecycle of the resource 1558 Contributor An entity responsible for making contributions to the resource Sofia Silvosa Format The file format, physical medium, or dimensions of the resource Height (113 cm); Width (84 cm) Type The nature or genre of the resource Oil 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 Uffizi Gallery https://baroque.dahvc.org/fall-2021/files/original/Esther_before_Ahasuerus_/Esther_before_Ahasuerus_.jpeg f5145652367583b13f8f07166bcfa2cf 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 Esther before Ahasuerus Description An account of the resource Considered to be one of the most ambitious paintings in Gentileschi’s œuvre, Esther before Ahasuerus exemplifies her success as a female baroque artist. The Old Testament Story referenced here is that of Queen Esther and her husband, Ahasuerus, the King of Persia. The story says that the two were married after his previous wife, Vashti, had offended him. He was unaware of Esther’s jewish faith, and she soon found out that a royal decree to massacre all jews in the Persian empire had been issued. Esther approached the King without a granted request, a crime punishable by death. The imagery of Artemisia’s version falls closely in line with the expanded Greek version of the original Old Testament text, which is quite likely, as it had achieved conical status at the Council of Trent in 1546. Within this text, Esther is described as having “sank to the floor. As she fainted, the color drained from her face and her head fell against the lady-in-waiting beside her. But God changed the king's heart, inducing a milder spirit. He sprang from his throne in alarm and took her in his arms until she recovered, comforting her with soothing words,” [1]. We can see this image come to life in her work as Esther swoons, leaning in fear on one of her maids, and King Ahasuerus is in the midst of rising from his throne, his left foot descending down the dais. Many Notable scholars date this painting to have been created around 1630, just at the end, or after her sojourn in Venice [2]. Considering their striking similarities, it is thought that Artemisia was familiar with Paolo Vernese’s rendition of Esther et Assuérus (Musée du Louvre, Paris), as it belonged to a private collection in Venice at the same time. The circular, tiered dais of the throne, the positioning of Esther’s left hand and the physical relationship of Esther to her maidens are among the similarities. 1. Metmuseum.org. Accessed October 13, 2021. https://www.metmuseum.org/art/collection/search/436453. 2. Och, Marjorie, ed. “Woman's Art Journal, No.1 (2016) 65-66.” Old City Publishing, Inc. Accessed October 13, 2021. http://www.jstor.org/stable/26452063. Creator An entity primarily responsible for making the resource Artemisia Gentileschi (Italian, born Rome 1593–died Naples 1654 or later) Source A related resource from which the described resource is derived Mann, Judith W. “‘Identity Signs: Meanings and Methods in Artemisia Gentileschi’s Signatures.’ Renaissance Studies 23, No. 1 (2009): 71–107.” JSTOR. Accessed October 10, 2021. http://www.jstor.org/stable/24417558. Metmuseum.org. Accessed October 13, 2021. https://www.metmuseum.org/art/collection/search/436453. Och, Marjorie, ed. “Woman's Art Journal, No.1 (2016) 65-66.” Old City Publishing, Inc. Accessed October 13, 2021. http://www.jstor.org/stable/26452063. In this article for the Woman’s Art Journal, Marjorie Och discusses Gentileschi’s work through the lens of Jesse Locker’s Artemisia Gentileschi: The Language of Painting. Och organizes the article by taking us through each of Locker’s six chapters, allowing her to touch on many of Locker’s points, including Artemisia’s diplomatic significance in the Papal Court. She quotes Locker in saying that “her talents were utilized in an elaborate series of favors,” as she would often change her style to address her patron’s interests. Most emphasized, however, are Locker’s observed gender dynamics within the Venetian literary environment and how they translated to Artemisia’s work. She comments that although the literary environment of the time, in which Gentileschi flourished, was interested in “the clever woman,” inherent misogyny and the inability to view women as anything but sexual objects stunted their ability to be considered intellectual equals of men. Gentileschi, however, ennobles women in her work, portraying them next to foolish men to emphasize their superiority. This notion is illustrated through her rendition of Esther before Ahasuerus. By comparing her version to that of Veronese, it is clear that Gentileschi studied and rejected his depiction of the King and Queen. She rides the composition of supporting figures, focusing solely on Esther and Ahasuerus. She makes the decision to depict the King in a comedic, theatrical dress, emphasizing the competency of the Queen. In terms of significance, Och’s article is not argumentative, rather it explores and expands on Locker’s ideas and assertions by quoting his work and also using rich imagery to bring his ideas to light. In addition, a photo of Esther before Ahasuerus is set forth, further contextualizing the painting’s discussion.  Date A point or period of time associated with an event in the lifecycle of the resource c. 1630 Contributor An entity responsible for making contributions to the resource Rebecca Boss Rights Information about rights held in and over the resource Public Domain. Relation A related resource Esther et Assuérus Date de création/fabrication : XVIe siècle (1500 - 1600) Paolo Caliari, dit Veronese Caliari, Benedetto, Italie, École de Format The file format, physical medium, or dimensions of the resource Oil on canvas 208.3 × 273.7 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 Currently on view at The Metropolitan Museum of Art Fifth Avenue, Gallery 621 Gifted to the Met by Elinor Dorrance Ingersoll, 1969 https://baroque.dahvc.org/fall-2021/files/original/Artemisia_Gentileschi_and_Le_Donne_Forti_Reinterpretation_of_Myth/Judith_and_her_Maidservant/x10471-1920px.jpg 218144a0e1dfc96b74a5519ef2640b0c 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 Judith and her Maidservant Subject The topic of the resource Judith and her Maidservant by Artemisia Gentileschi is an oil on canvas painting depicting the story of the heroine Judith killing Holofernes. Judith beheads the general Holofornes, as his head is seen in a basket in the lower left of the painting. Biblically speaking, Judith is able to behead Holofornes after he invites her into his home. After having a few too many drinks, Holofornes passes out and Judith takes advantage of the situation and beheads him. Description An account of the resource This painting was originally documented in 1638 to be in the possession of the Grand Duchess Maria Maddalena of Austria. This painting was based on Artemisia's fathers' artwork, "Judith and her maidservant with the head of Holofernes", c. 1608, by Orazio Gentileschi. They depicted the same story, but Artemisia had a more realistic representation of facial expression, and used a completely different color scheme. Artemisia was known to use these maroon and gold tones during her time in Florence. Additonally, Artemisia's added detail of Medusa's head on the pommel of Judith's sword helps represent the anger and aggression within this painting. Creator An entity primarily responsible for making the resource Artemisia Gentileschi, Italian, 1593–c.1654 Source A related resource from which the described resource is derived Artemisia IFS report August 2020 - National gallery. (n.d.). Retrieved October 12, 2021, from https://www.nationalgallery.org.uk/media/35279/artemisia-ifs-report_august-2020.pdf. “Orazio and Artemisia Gentileschi: Father and Daughter Painters in Baroque Italy.” Metmuseum.org. The Metropolitan Museum of Art. Accessed October 11, 2021. https://www.metmuseum.org/exhibitions/listings/2002/orazio-and-artemisia-gentileschi/photo-gallery. Publisher An entity responsible for making the resource available Pitti Palace, Florence Date A point or period of time associated with an event in the lifecycle of the resource c. 1615 Contributor An entity responsible for making contributions to the resource Jason Post Rights Information about rights held in and over the resource Public Domain Format The file format, physical medium, or dimensions of the resource 114cm x 93.5cm 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 Pitti Palace, Florence, Italy https://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://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://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://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.