Sofonisba Anguissola ed Orazio Lomellino. Pittura, politica ed economia da Genova a Palermo (1580-1625)

2020 ◽  
pp. 146-153
Author(s):  
Giuseppe Barone
Keyword(s):  
Sofonisba Anguissola

Sofonisba Anguissola, a Painter and a Lady-in-Waiting

2021 ◽  
Author(s):  
Cecilia Gamberini
Keyword(s):  
Primary Source ◽  
The Political ◽  
Political Climate ◽  
Sofonisba Anguissola ◽  
Primary Source Documents

Relying on primary source documents, Cecilia Gamberini outlines the reality of Sofonisba Anguissola’s experiences in the Household of Queen Isabel of Valois following the artist’s appointment to the Spanish court in 1559. Anguissola’s position is generally credited to her two roles there: painter and lady-in-waiting. The author argues that while Anguissola’s appointment was due in part to her remarkable painted self-representations, it was also facilitated by a largely overlooked network of familial contacts and the political climate of the time. Analyses of Anguissola’s behaviour in the Queen’s Household also offers a glimpse into the young woman’s personality, which was at times irreverent and rebellious, and the opportunity for new attributions.

Sofonisba Anguissola e le sue sorelle.

1993 ◽  
Vol 24 (4) ◽  
pp. 941
Author(s):  
Liana De Girolami Cheney ◽  
Flavio Caroli
Keyword(s):  
Sofonisba Anguissola

Sofonisba Anguissola: The First Great Woman Artist of the Renaissance.

1993 ◽  
Vol 24 (4) ◽  
pp. 942
Author(s):  
Liana De Girolami Cheney ◽  
Ilya Sandra Perlingieri
Keyword(s):  
Sofonisba Anguissola

Here's Looking at Me: Sofonisba Anguissola and the Problem of the Woman Artist*

1994 ◽  
Vol 47 (3) ◽  
pp. 556-622 ◽  
Author(s):  
Mary D. Garrard
Keyword(s):  
Women Artists ◽  
Fundamental Problem ◽  
Subject Position ◽  
Self Presentation ◽  
Object Position ◽  
Starting Point ◽  
Sofonisba Anguissola ◽  
Subject And Object ◽  
The Subject ◽  
Art And Society

An Unusual Portrait by Sofonisba Anguissola has gained new prominence from its illustration in color in a recent publication. In her Women, Art, and Society (1990), Whitney Chadwick claims of the portrait in question, Bernardino Campi Painting Sofonisba Anguissola (fig. 1), that in presenting herself in the guise of a portrait being painted by her teacher, Anguissola produced “the first historical example of the woman artist consciously collapsing the subject-object position.” Chadwick's succinct observation opens up the possibility of understanding the painting in a new way, for she points to the peculiar conflation of subject and object that uniquely befell women artists in the Renaissance and complicates their art, especially their self-portraits. From this starting point, I will here explore the form of self-presentation offered by Anguissola in the Siena portrait and several other works in the context of what was a fundamental problem for the Renaissance female artist: the differentiation of herself as artist (the subject position) from her self as trope and theme for the male artist (the object position).

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