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256:"Giulia makes lace and has great interest in Clelia Borromeo's apparatus for making lace by machinery, as used in making socks and cloth. I believe that it is not difficult to invent such apparatus, and whomever is successful would make a great deal of money and would reduce the expenses for women's labor. Tell your son. Perhaps he met Lama when he was in Venice. She lives a very secluded life."
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452:, but the bull is in the forest and far away from the sea and her companions dance around the beast that carries Europa laughing. The group of these figures is filled with poetry, so much so that this woman has more cords in her arch and excels in painting as in poetry - her poetry is in the style of
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as she was of carrying out large, original commissions, such as altarpieces, with confidence. It is through the identification of three such altarpieces in a
Venetian guidebook of 1733 that Lama's artistic personality began to be reconstructed. Recovery of Lama's oeuvre has required reattribution of
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in March 1728 has been important in determining Lama's background and character. He remarks, "The poor girl is persecuted by the painters, but her virtue triumphs over her enemies. It is true that she is as ugly as she is witty but she speaks with grace and precision, so that one easily forgives her
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in 1747. She had a successful career in private and public figure painting. Lama appears to have been one of the first women to break the barrier against women studying and drawing the nude figure from life. Over 200 drawings show that she indeed studied both male and female nude figures during her
241:, training her as a mathematician and artist. At the time, Venice discouraged women from studying the sciences. This made studying mathematics outside of the home increasingly difficult. Regardless, Lama pursued her educational interest. She began studying under
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Lama received the important commission to paint the altarpiece for her parish church, Santa Maria
Formosa in the Sestiere of Castello, in 1722. Lama received another important commission around 1750: to paint a Crucifixion scene for an altar in
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Though there are no official records of Lama ever producing lace or a lace making machine, it may have been a source of income. Lama never married and found a way to be financially independent as a woman, which was uncommon for the time.
245:, a notable mathematician of the time. Sources state that Lama may have studied lace making in order to support herself financially. In addition to lace making, scholars have commented on Lama's embroidery skill. In a letter from
319:"... Lisalba Arcadia , most erudite in philosophy, a well renowned painter, so much so that the main churches try to have her works, and in particular some altarpieces, she acquired great honors in her manner of painting."
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Lama's career is fairly elusive as well. Her career as a painter was said to be financially successful, and she received multiple commissions, both public and private. Two years prior to Abbot Contis' letter,
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Though there is limited information about the number of poems that Lama composed, sources indicate that she composed two songs, three sonnets and a eulogy. The eulogy honors the death of her literary friend
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In her self portrait, Lama is seen at 45 years old. She is holding a paint brush and palette, and choose to dress herself in unostentatious attire. Around her wrist is a double looped pearl bracelet.
136:. She was the eldest of her three siblings: Cecilia, Niccolò, and Pietro. According to records, she resided in Calle Lunga 1242, between the Campo of Santa Maria Formosa and
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Lama was active as a historical painter and poet in Venice. She resided in Calle Lunga 1242 for a majority of her life. She died on
October 7/8th, most likely to the
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112:(1 October 1681 – 7/8 October 1747) was an Italian painter, active in Venice. Her dark, tense style contrasted with the dominant pastel colors of the late
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684:, of about 66 years of age, ill with acute fever due to a skin disease, which degenerated in convulsions, on the 8th day, died today at 21 hours"
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Banta, Andaleeb Badiee; Greist, Alexa; Kutasz
Christensen, Theresa; Art Gallery of Ontario; Baltimore Museum of Art, eds. (2023).
291:. One way that Lama would have been able to study the male figure in her daily life, was likely by observing the workmen at the
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Lama's formal education after her father's training is slightly unclear, but sources indicate that she may have been trained by
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295:, where she was documented to visit frequently. Studies from nude male models would have likely been done in a private studio.
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face." The letter reveals that in addition to being a painter she was skilled in mathematics, poetry, and lace making.
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389:. The prior owner of the piece is unknown. The Ca' Rezzonico Museum registered the painting in 1962, when
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in Venice. Lama created a later version in 1735 that is located at the G. Rossi
Collection in Milan.
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As a highly trained professional, she was just as capable of painting a sensitive portrait such as
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Sources indicate that Lama may have died of the plague, on
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in Venice. As a result of learning together their styles are similar with intense use of
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in Venice. Over 200 sketches have been found illustrating her early studies of
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era. She was one of the first female artists to study the male figure nude.
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or the adjacent
Oratory of the Assumption of Mary and Saint Eurosia at
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421:. An earlier version in 1725, shown on the left, is found at the
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Making her mark: a history of women artists in Europe, 1400-1800
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Giulia Lama (alias
Lisalba Arcadia), was born in the parish of
863:"Save Venice: The forgotten female artists being rediscovered"
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Weidemann, Christiane; Larass, Petra; Klier, Melanie (2008).
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I know your hurt done to others, which is your ancient way,
891:. Fredericton, New Brunswick, Canada: Goose Lane Editions.
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Listen to his clear style; think that if he had reached
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Then tell how much you have taken from us all at once.
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And wherefore everyone here has remained disheartened.
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Lama's education began early in life, with her father,
140:. She was trained initially by her father, the painter
783:"Giulia Lama: A Luminous Painter and a Tenebrist Poet"
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And Oh! if only I could unfold in a longer discourse,
316:(1703-1779) discussed Lama's accomplishments as well:
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works by not only
Piazzetta, but also artists such as
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And restrain that other poison of which you are full
473:"Giulia Lama's Lament on the Death of Antonio Sforza"
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Proud instinct, and you would not have, less proud,
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Enshrined here justly in the veil of a mortal form,
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May loathing of your misdeed at least overtake you.
489:So that I would not be aware of so great a sorrow.
144:. Later, she studied alongside a childhood friend,
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621:How much more so would he have been in his gray?
561:Though you have turned him away before his time.
594:But it will be of worth. Where, O my sad wrong,
531:And I would hope, perhaps, for our common grief
307:Giulia Lama, crocifisso con gli apostoli, c. N/A
576:And his intellect more adroit than any other's
486:Why have so many earnest prayers gone unheard?
651:For a brief while suspended by your hardness.
588:It availed only to see that a great adventure
504:But to whomever else were you ever so unkind?
483:Why have you now taken away such great hopes?
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663:Seeing him, and hearing him would have moved
564:What availed it ever to hear the wise voices
558:Therefore, proudly does our age do him honor
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803:: CS1 maint: multiple names: authors list (
534:That pity might still issue forth from you.
507:Now hear what sort and how great a trouble,
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642:Enough at least, that it may give occasion
618:That if in his green years he was so great
573:Arousing pity and placating fierce wraths,
492:Why does so wise a spirit still not remain
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370:, c. 1730, Fondazione Fantoni di Rovetta,
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654:But what a wish! You are blind and deaf;
648:Slight still is your resolve, your pride
630:What works he would have created for us!
591:Passes away, and never endures for long.
567:Reading his learned maxims and the poems
585:And through wise and shrewd perception;
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570:Which I seem to hear still in my heart
510:Arose against us from so blind an act,
498:In the world to give honor to our age?
842:"Lama, Giulia". Grove Art Online. 2003
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537:Handsome, young, and gentle of aspect
522:In clearer and more precise language,
477:Death, untimely you enshroud the body
393:donated his collection to the museum.
132:. Lama was born to Agostino Lama, and
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657:I can obtain no compassion from you.
582:And explain the most abstruse ideas;
377:Lama's depiction of the beheading of
233:Interpreting the Eunuchs' Dreams, c.
193:that was typically done only by men.
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826:. London: Fitzroy Dearborn. p. 820.
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609:Which canceled out such great hopes
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513:Because if pity has no value in you
189:training. She had public success in
597:Did my dismal verse transport you?
480:More often now in genteel persons;
442:describes the piece in his letter:
944:18th-century Italian women artists
540:Soft and kind of word was Sforza;
344:Self Portrait, c. 1725, Florence,
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660:Ah! if it had not been that way,
627:A more mature and sagacious age,
600:Despite bitter and wicked hatred
546:Seldom does Heaven deign to send
528:That encumbers everyone's heart:
793:(75): 225–252 – via JSTOR.
781:De Girolami, Cheney, L. (2017).
733:50 Women Artists You Should Know
689:Church of Santi Giovanni e Paolo
645:To see the reason for our pain.
603:He lives again for us on paper.
79:Church of Santi Giovanni e Paolo
735:. Munich: Prestel. p. 45.
438:is a now lost piece of Lama's.
824:Dictionary of Women Artists: 2
680:"Lady Giulia, the daughter of
552:To a soul so wise and prudent
357:The Martyrdom of Saint Eurosia
148:(1682–1754), at the Scuola di
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929:18th-century Italian painters
861:Razzall, Katie (4 May 2022).
612:Together with his knowledge,
579:To understand lofty matters,
417:Lama created two versions of
949:18th-century Venetian people
381:was displayed in either the
35:Self Portrait of Giulia Lama
959:18th-century women painters
954:18th-century Venetian women
711:. Germany: Prestel. p. 40.
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639:And mitigate it somewhat,
138:Campo SS. Giovanni e Paolo
16:Italian artist (1681–1747)
549:Here on earth, one equal
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707:Buchholz, E. L. (2003).
159:A letter written by the
440:Antonio Schinella Conti
423:Galleria dell'Accademia
412:Galleria dell'Accademia
383:Church of Saint Eurosia
247:Antonio Schinella Conti
198:Young Man with a Turban
939:Italian women painters
687:She was buried at the
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146:Giambattista Piazzetta
110:Giulia Elisabetta Lama
495:For a longer sojourn
419:Judith and Holofernes
408:Judith and Holofernes
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398:Judith and Holofernes
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348:(Corridoio Vasariano)
346:Galleria degli Uffizi
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267:. Her peers included
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178:Judith and Holofernes
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934:Painters from Venice
787:Artibus et Historiae
467:Abbot Antonio Sforza
314:Luisa Bergaiii Gozzi
134:Valentina dell'Avese
126:Santa Maria Formosa
436:The Rape of Europa
430:The Rape of Europa
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277:Domenico Maggiotto
269:Francesco Cappella
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207:Domenico Maggiotto
203:Federico Bencovich
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898:978-1-77310-318-1
445:"The subject is T
366:The Martyrdom of
283:at the Scuola di
281:Antonio Marinetto
273:Egidio dall'Oglio
253:, Antonio wrote,
211:Francesco Capella
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525:The lofty cause
293:Venetian Arsenal
285:Antonio Molinari
251:Madame de Caylus
191:history painting
165:Madame de Caylus
150:Antonio Molinari
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65:(1747-10-07)
924:1747 deaths
919:1681 births
691:, in 1747.
447:he Rape of
410:, c. 1725,
161:Abate Conti
154:chiaroscuro
84:Nationality
23:Giulia Lama
913:Categories
832:1884964214
717:3791329677
695:References
387:Le Vignole
229:Study for
47:1681-10-01
325:San Vidal
221:Education
120:Biography
867:BBC News
454:Petrarch
215:Zurbarán
100:Movement
95:Painting
372:Bergamo
289:anatomy
114:Baroque
103:Baroque
87:Italian
895:
830:
739:
715:
460:Poetry
449:Europa
299:Career
231:Joseph
213:, and
186:plague
130:Venice
872:4 May
673:Death
331:Works
893:ISBN
874:2022
828:ISBN
805:link
737:ISBN
713:ISBN
279:and
60:Died
41:Born
456:."
249:to
163:to
128:in
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