This thesis is a study about the life and the artistic works of a female Italian painter of 500. She is Sofonisba Anguissola (Cremona 1535 – Palermo 1625), the first of seven childern of Amilcare Anguissola and Bianca Ponzoni. Her father was fond of art and amateur designer. He granted her daughters the possibility to study the literature, painting and music. Four of her sisters became painters. One of them, Elena, later on abandoned the artistic career and became a domenican nun. Her fifth sister, Minerva, was a Latin teacher and writer while their unique brother studied Latin and became musician. Sofonisba Anguissola was one of the first female exponents of European painting. She rapresented the female Italian Renaissance painting. She was trained at the school of a painter, Bernardino Campi, which his style had a notable influence on her. She participated at the artistic life of Italian court also for her literary and musical competence and she had correspondence with the most famous artists of her time. Her contemporary Giorgio Vasari wrote about her in his famous book written about the lives of many artists, Le Vite. This is also due to positiv opinion of Michelangelo Buonarroti about her.Her father wrote and send to Michelangelo her designs. It says that she herself as a young women has traveled in Rome and visited Michelangelo and he recognized her talent immediately. Among her drawings there also was the child bitten by a crayfish. In this drawing the very young artist just about twenty years old, succeeded to show the infantile pain which pleasured Michelangelo a lot. Then Caravaggio painted the Boy bitten by a green lizard. Her most distinctive and attractive paintings are her portraits of herself and her family, which she painted before she moved to the Spanish court. The Spanish queen, Elizabeth of Valois, was a keen amateur painter and in 1559 Anguissola was recruited to go to Madrid as her tutor, with the rank of lady-in-waiting. She later became an official court painter to the king, Philip II, and adapted her style to the more formal requirements of official portraits for the Spanish court. At the Spanish court she painted formal state portraits. Later in her life she also painted religious subjects, although many of her religious paintings have been lost. She married in 1573 with Sicilian Fabrizio Moncade and transfered in Sicilia where she continued her artistic activity. In 1578 died her husband and she left Sicilia to reach Liguria. In Livorno she met Orazio Lomellini from Gonova and got married witn him in Pisa, in 1579. In 1580 she met the young painter Pier Francesco Piola. In 1615 she returned with her husband to Palermo and continued painting in spite of her visual problems.By passing the time her visual problems kept her distant of her artistic activity. Sofonisba Anguissola died on 16 November 1625, in Palermo. Sofonisba Anguissola had a lasting influence on subsequent generations of artists, and her great success opened the way for larger numbers of women to pursue serious careers as artists. Her contemporary Giorgio Vasari wrote : " Sofonisba Anguissola has shown greater application and better grace than any other woman of our age in her endeavors at drawing; she has thus succeeded not only in drawing, coloring and painting from nature, and copying excellently from others, but by herself has created rare and very beautiful paintings."
Questa tesi studia la vita e le opere di una pittrice italiana del 500. Lei è Sofonisba Anguissola (Cremona 1535 – Palermo 1625), la prima dei sette figli di Amilcare Anguissola e Bianca Ponzoni. Suo padre fu amante dell'arte e disegnatore dilettante. Egli concesse alle figlie la possibilità di studiare letteratura, pittura e musica. Quattro delle sue sorelle divennero anch'esse pittrici. Elena, in seguito, abbandonò la carriera artistica per diventare una monaca domenicana. La quinta sorella, Minerva, fu insegnante di latino e scrittrice, mentre l'unico fratello studiò latino e diventò musicista. Sofonisba Anguissola fu una delle prime esponenti femminili della pittura europea. Lei rappresentò la pittura italiana rinascimentale al femminile. Si formò alla scuola del pittore lombardo Bernardino Campi e lo stile di Bernardino influenzò notevolmente Sofonisba Anguissola. Lei partecipò alla vita artistica delle corti italiane, data anche la sua competenza letteraria e musicale, ed ebbe una fitta corrispondenza con i più famosi artisti del suo tempo. Fu contemporanea a Giorgio Vasari e stata citata nelle Vite l'opera di Vasari anche grazie a Michelangelo Buonarroti che sosteneva che lei avesse talento. Fu il padre di Sofonisba a scrivere a Michelangelo e a mandargli i disegni della figlia. Si dice anche che lei come una giovane donna ha viggiato a Roma dove ha incontrato Michelangelo e il grande artista immediatamente ha conoscuito il suo talento. Fra i suoi disegni c'era anche un Fanciullo morso da un gambero, nel quale la giovanissima artista, allora poco più che ventenne, aveva colto l'espressione del dolore infantile con un'invenzione che piacque molto a Michelangelo. Poi Caravaggio ha dipinto il Ragazzo morso da ramarro. I suoi più distintivi e attraenti dipinti sono i suoi ritratti di se stessa e di sua famiglia che lei li ha dipinto prima di trasferirsi in Spagna, alla corte spagnola. La regina di Spagna, Elisabeth di Valois, fu una pittrice dilettante appassionata e nel 1559 Sofonisba Anguissola è stata assunta per andare a Madrid come la sua precettrice con il rango di dama di corte. Più tardi lei è diventata una pittrice ufficiale del re di Spagna, Filippo II, e ha adottato il suo stile elle esigenze formali dei ritratti ufficiali per la corte spagnola. Nella corte spagnola lei ha dipinto i ritratti statali formali. Più tardi anche ha dipinto soggetti religiosi ma molti di questi sono stati persi. Nel 1573 sposò il nobile siciliano Fabrizio Moncada e si trasferì in Sicilia dove continuò la sua attività artistica. Con la morte del marito, nel 1578, Sofonisba lasciò l'isola per raggiungere la Liguria. Fermatasi provvisoriamente a Livorno, la pittrice lombarda conobbe e sposò, in seconde nozze, il nobile genovese Orazio Lomellini a Pisa nel 1579. Intorno al 1580 incontrò il giovane pittore Pier Francesco Piola. Tornata nel 1615 con il marito a Palermo, Sofonisba continuò a dipingere nonostante un forte calo della vista, ma alla lunga questo problema le impedì di continuare a esercitare la sua arte. Sofonisba Anguissola morì il 16 novembre 1625, a Palermo. Sofonisba Anguissola ha avuto un durevole influenza sulle generazioni successive degli artisti e il suo grande successo ha istradato molte donne a perseguire le serie carriere come artisti. Giorgio Vasari scrisse : "Sofonisba Anguissola ha dimostrato più grande applicazione e migliore grazia più di qualunque altra donna della nostra epoca nel suo tentativo di dipingere; quindi lei ha avuto successo non solo nel disegnare, colorare e dipngere dalla natura e copiare eccellentemente dagli altri, ma lei stessa ha creato rari e molto belli dipinti."
Studi attorno Sofonisba Anguissola e alle sue sorelle
ABOUZARI, AREFEH
2019/2020
Abstract
This thesis is a study about the life and the artistic works of a female Italian painter of 500. She is Sofonisba Anguissola (Cremona 1535 – Palermo 1625), the first of seven childern of Amilcare Anguissola and Bianca Ponzoni. Her father was fond of art and amateur designer. He granted her daughters the possibility to study the literature, painting and music. Four of her sisters became painters. One of them, Elena, later on abandoned the artistic career and became a domenican nun. Her fifth sister, Minerva, was a Latin teacher and writer while their unique brother studied Latin and became musician. Sofonisba Anguissola was one of the first female exponents of European painting. She rapresented the female Italian Renaissance painting. She was trained at the school of a painter, Bernardino Campi, which his style had a notable influence on her. She participated at the artistic life of Italian court also for her literary and musical competence and she had correspondence with the most famous artists of her time. Her contemporary Giorgio Vasari wrote about her in his famous book written about the lives of many artists, Le Vite. This is also due to positiv opinion of Michelangelo Buonarroti about her.Her father wrote and send to Michelangelo her designs. It says that she herself as a young women has traveled in Rome and visited Michelangelo and he recognized her talent immediately. Among her drawings there also was the child bitten by a crayfish. In this drawing the very young artist just about twenty years old, succeeded to show the infantile pain which pleasured Michelangelo a lot. Then Caravaggio painted the Boy bitten by a green lizard. Her most distinctive and attractive paintings are her portraits of herself and her family, which she painted before she moved to the Spanish court. The Spanish queen, Elizabeth of Valois, was a keen amateur painter and in 1559 Anguissola was recruited to go to Madrid as her tutor, with the rank of lady-in-waiting. She later became an official court painter to the king, Philip II, and adapted her style to the more formal requirements of official portraits for the Spanish court. At the Spanish court she painted formal state portraits. Later in her life she also painted religious subjects, although many of her religious paintings have been lost. She married in 1573 with Sicilian Fabrizio Moncade and transfered in Sicilia where she continued her artistic activity. In 1578 died her husband and she left Sicilia to reach Liguria. In Livorno she met Orazio Lomellini from Gonova and got married witn him in Pisa, in 1579. In 1580 she met the young painter Pier Francesco Piola. In 1615 she returned with her husband to Palermo and continued painting in spite of her visual problems.By passing the time her visual problems kept her distant of her artistic activity. Sofonisba Anguissola died on 16 November 1625, in Palermo. Sofonisba Anguissola had a lasting influence on subsequent generations of artists, and her great success opened the way for larger numbers of women to pursue serious careers as artists. Her contemporary Giorgio Vasari wrote : " Sofonisba Anguissola has shown greater application and better grace than any other woman of our age in her endeavors at drawing; she has thus succeeded not only in drawing, coloring and painting from nature, and copying excellently from others, but by herself has created rare and very beautiful paintings."È consentito all'utente scaricare e condividere i documenti disponibili a testo pieno in UNITESI UNIPV nel rispetto della licenza Creative Commons del tipo CC BY NC ND.
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https://hdl.handle.net/20.500.14239/822