On the other hand, the musical instrument also indicates an awareness of the relationship between musical talent and artistic capability. 29 mars 2018 - Cette épingle a été découverte par Dmitriy Makeev. See also Babette Bohn, “Female Self-Portraiture in Early Modern Bologna,” in Renaissance Studies 18, no. The placement of a maidservant behind her, along with her richly colored wardrobe also helped to convey Fontana as financially stable. Lavinia Fontana (August 24, 1552 – August 11, 1614) was an Italian painter. Vers la fin des années 1570, la jeune fille se fait connaître dans la ville par ses portraits, notamment l'Autoportrait au clavecin (1577, académie de Saint-Luc à Rome) et le très formaliste Famille Gozzadini (1584, pinacothèque de Bologne). Along these lines, as a female blogger, I sometimes find myself concerned with how I portray myself in writing. (17) Ciacon knew of Fontana’s work and requested she send him “a little portrait of yourself… which can then accompany that of Sophonisba which shall thus be seen and looked at and recognized by everyone as it shall be made into a print among those five hundred illustrious men and women which shall be engraved in copper at the expense of his Grace the Archduke Ferdinand of Austria.” (18). Unsurprisingly, virginity was highly desired by prospective husbands at the time, but I think that Fontana mentions her virginity to fit further societal expectations. 1) ou encore Artemisia Gentileschi15 qui se représentent en musiciennes. Auto-portrait à l’épinette, Lavinia Fontana, huile sur toile, 1577, Rome, Accademia Nazionale di San Luca . My discussion of the red knot came from the Caroline Murphy text (2003) that I mentioned in the fifth footnote, but she must have gotten that information from your previously-published/presented work. “Lavinia Fontana’s “Self-Portrait Making Music’.” Woman’s Art Journal. Lavinia Fontana learned painting from her father, Prospero Fontana, who was a highly-respected artist in Bologna. Antonietta Gonzalez (as well as her father, two sisters and other family members) had hypertrichosis (also … Hello Monica, The red knot that is placed on the instrument was a symbol of love and betrothal at the time, which can also tie into Fontana’s interest in maintaining social decorum. À 25 ans, en 1577, Lavinia Fontana épouse un peintre mineur Gian Paolo Zappi d'Imola, qui arrête sa carrière pour devenir son assistant. (11) While there is no evidence that Fontana actually played a musical instrument, her choice to include the keyboard “elevated herself from dilettante to professional… from one who practices a craft to someone with skills equal to that of the musician, poet, writer, and philosopher.” (12) This helped, too, with elevating her social and economic status in Renaissance society. Of course, she marks the high status of Lavinia, but what exactly is she doing with musical sheets? Mar 16, 2015 - Find and follow posts tagged lavinia fontana on Tumblr. Commission yourself a portrait today!
Fontana's innovative Self-Portrait Making Music with a Maid-servant differs considerably from the image projected by her old-er counterpart, Sofonisba … 2 (2004): 251-256. This painting, Self-Portrait at the Spinet (also called Self-Portrait at the Keyboard) was made in 1577 for Fontana’s future father-in-law, Severo Zappi.2 I think Fontana felt some pressure at this time, since she was marrying into a family which held a higher social status than her own.3 One senses that Fontana felt a need to emphasize her wealth and status by observing various elements in her painting: her lavish clothing, jewels, and a servant in the background. 25. ), musée du château d'Udine, Frioul-Vénétie julienne, vendredi 26 août 2011, Explore Renaud Camus' photos on Flickr. Son père est peintre de la contre-réforme très en vogue auprès des papes. would potentially benefit. This portrait is a tondo painted on copper (1579) and was created expressly for placement in a collection. As I have been writing this post and thinking about Fontana, I’ve come to a realization as to why I am drawn to female self-portraits. Lavinia Fontana est l'unique enfant de Prospero Fontana et d'Antonia de' Bonardis. Le Jour ni l'Heure 3744 : Lavinia Fontana Zappi, 1552-1614, autoportrait (? My very best wishes to you and please accept my condolences on your loss, Robert H. Consoli The red knot is also discussed in Caroline P. Murphy, Lavinia Fontana: A Painter and her Patrons in Sixteenth-century Bologna (New Haven and London, 2003), 41–3. Lavinia Fontana fut la première femme à disposer officiellement d’un atelier.
She continued on to create devotional pieces in larger scale and was successful until her death in 1614 at the age of 62. 6 Name also appears in art history texts as Alonso Chaçon and Alfonso Chacon. Follow the links above for analysis and research on specific paintings. Your footnote no. 5 Jul. Ciacon was a Spanish Dominican theologian and scholar who lived in Rome. The present picture is a fine studio replica of the earliest known self-portrait by Lavinia Fontana, painted in 1575 and now preserved in a private Roman collection (M.T. The inscription in the right-hand corner of her portrait states: “Lavinia Fontana married into the Zappi family made this 1579.” In fact, this reference to her marriage was advantageous not only for purposes of societal decorum, but also a way to emphasize her social status, since the Zappi family held a comparatively high status in society. Mr. Niyazi was a gifted art historian and researcher and made many contributions to the Autoportrait au clavecin (1577) Huile sur toile, 27 × 24 cm, Accademia di San Luca, Rome. New Haven: Yale University Press, 2003. In the portrait she sent Ciacon, Fontana is seated at a desk with books, statues and paper in front of her. He is sorely missed. (13) Since, “the ‘emblematic significance’ of dress made possible the visible marking out of one’s parental and marital identity,” her clothing choice seems skillfully chosen. Thank you for your citation and information. Dans le premier peint en 1577 nous la retrouvons installée devant un clavecin, les mains s’agitant au-dessus du clavier. In the meantime, I would like to make this post I wrote available again, in Hasan’s memory. Italie, 1552-1614. While emphasizing good social status was important for all painters during the Renaissance, it was especially important for females whose self portraits were often the first image seen by their future husbands. Rather painting endures… Painting satisfying the sense of sight is more noble than music which only satisfies hearing. I too, am very keen for his blog to be back online for educational purposes and for those who just wish to admire his work. Fontana’s earliest self-portrait is quite unique, since it was created as a marriage portrait. 2012. We have learned that his web site has now been taken down and the Artemisia Gentileschi, Self-Portrait as the Allegory of Painting, 1630s, Royal Collection. bobconsoli@gmail.com. She can’t be helping Lavinia, because in that case the music would stand before the eyes of the player, so what then? Protégée des papes Jules III, puis Grégoire XIII, la famille Fontana possède l’un des ateliers les plus en vue de Bologne.
. 4a.7, p. 64).Created as a marriage portrait for her … (10). Renaud Camus has uploaded 26082 photos to Flickr. 58.3 (1995): 381-406. Or maybe improving an existing one? She was the first woman artist to paint female nudes, and possibly the first female to … I certainly feel that way. Web. incorrect it was not Bohn, but I, who was the first scholar to observe, associate, and published on the red knot on the clavichord as a symbol of love. In addition, her knowledge and learning are emphasized by the fact that she includes a Latin inscription in the upper corner of the canvas. 401. Lavinia Fontana (1552–1614), Self-Portrait at the Clavichord with a Servant, 1577, oil on canvas, 27 x 24 cm, Rome, Accademia di San Luca. 18.2 (2004): 239-86. This might account for why the musical pages are tilted up at an angle, so they can be easily seen by the viewer. For instance, my mother and women of her generation still signed their names as Mrs. Husband’s Name, as if they were subsumed by their marriage. Lavinia Fontana. While this portrait is an obvious reference to her artistic career, Fontana still had to keep in mind her appearance for the public eye. Lavinia FONTANA, "L'homme sauvage" Histoire & Image, L2 Histoire Lyon Nous traiterons ici, à partir du portrait de Tognina Gonsalvus peint par Lavinia Fontana, de la vie de l'artiste et de la signification du tableau, aussi en le replaçant dans une plus large perspective des représentations de ces raretés de la nature, mi-hommes mi-animaux, dont l'iconographie est remplie à l'époque moderne. (23) Still, historians and critics look to Self Portrait at the Keyboard and Self Portrait in the Studiolo as the primary self portraits of a woman who may have been the most talented professional woman portrait painter in Bologna. community of his many admirers would very much like to see it restored in some form. Fontana (Jean), né à Mili près de Côme en 1540, mort en 1614, fut un des architectes de l'église de Saint-Pierre de Rome, mais excella surtout dans l'hydraulique.
Mar 27, 2016 - Lavinia FONTANA, Portrait d’homme assis feuilletant un livre, dit Portrait du sénateur Orsini.JPG Web. For more information, see Liana De Girolami Cheney, et. Lavinia Fontana, The Holy Family with Saint Catherine of Alexandria, 1581. Lavinia Fontana est l'unique enfant de Prospero Fontana et d'Antonia de' Bonardis. Lavinia Fontana se forme dans l'atelier de son père, où elle rencontre [2]. I hope Lavinia was able to continue to express her individuality in spite of societal obligations. 1600.
She was trained by her father Prospero Fontanawho was a teacher at the School of Bologna. Find more prominent …
Fue hija del pintor Prospero Fontana, pintor de la escuela de Bolonia, que le enseñó el oficio. Fontana looks confident and comfortable in her environment, even though this is the only self-portrait from the sixteenth century in which a female is seem studying the antique nude. Agreed totally, since an artist who did not meet societal expectations was unlikely to find a market for his/her paintings. I have seen the “wedding” portrait first time several months ago, and was intrigued by the role of the servant. Lavinia Fontana : le triomphe au féminin Un nouveau pas en avant s’accomplit sous le pinceau de Lavinia Fontana (1552–1614). That might have been acceptable to van Gogh, but almost every other artist wanted acceptance, admiration and a steady income stream.
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