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encrusted dust and dirt. The documentary's main protagonists include museum executives and art conservation experts such as the San Marco Museum director Dr. Magnolia
Scudieri and Florentine restorer Rossella Lari. The restored painting was completed in October 2006, and unveiled at Florence's San Marco Museum where it is exhibited in the large refectory. In her closing comment, Scudieri states, "Not only can we more clearly see the painting's expressive intensity thanks to this restoration, we can also more fully understand the convent life of Plautilla Nelli and her time in Florence.
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157:. About half of all educated girls in that era were placed into convents to avoid the cost of raising a dowry. Savonarola's preachings promoted devotional painting and drawing by religious women to avoid sloth, thus the convent became a center for nun-artists. Her sister, also a nun, Costanza, (Suor Petronilla) wrote a life of Savonarola.
197:-style enforced by Savonarola's artistic theories. Fra Bartolomeo left his drawings to his pupil, Fra Paolino who, in turn left them in the possession of "a nun who paints" in the convent of Santa Caterina da Siena. Nelli signed her paintings as "Pray for the Paintress" after her name, confirming her role in spite of her gender.
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Nelli's work represents a daring creative endeavor for a nun-artist of her period, as most were relegated to producing miniatures, textiles, or small sculptures in painted terra cotta or wood. By creating and signing this enormous fresco-like work depicting one of
Florence's most beloved spiritual
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The documentary explores the preparatory drawings beneath the painting's pictorial surface using the process of reflectography. It shows various steps of the restoration project safeguarding the painting against woodworms, found in the painting's wood panel and exterminated, and centuries of
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236:. Her work is characterized by religious themes, with vivid portrayals of emotion on her characters' faces. Nelli lacked any formal training and her male figures are said to have “feminine characteristics”, as her religious vocation prohibited study of the nude male.
169:(disciple of Savonarola), named three nuns of Santa Caterina as disciples of Plautilla, Suor Prudenza Cambi, Suor Agata Trabalesi, Suor Maria Ruggieri, and three others as additional producers: Suor Veronica, Suor Dionisia Niccolini, and his sister Suor
152:
She became a nun at the age of fourteen, taking on the name Suor
Plautilla, at the convent of Santa Caterina di Cafaggio; she would later be prioress on three occasions. The facility was managed by the Dominican friars of San Marco, led by
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is a thirty-six-minute documentary on the life of Nelli and on the process of restoring of one of her most significant large-scale paintings. The documentary, produced in 2007 by Art Media Studio, Florence, was developed and funded by The
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wrote, "and in the houses of gentlemen throughout
Florence, there are so many pictures, that it would be tedious to attempt to speak of them all." Fra' Serafino Razzi, a sixteenth-century Dominican Friar, historian and
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Pulisena
Margherita Nelli was born into a wealthy family in the San Felice area of Florence. Her father, Piero di Luca Nelli, was a successful fabric merchant and her ancestors originated from the Tuscan valley area of
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419:. The television special, which spotlights the thousands of works by women in storage in Florence's museums, hails the little-known nun-painter as "the first woman artist of Florence."
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has the richest tradition of paintings of the Last Supper in the world. Her most significant work because of its size and subject, it is a seven meter–long oil painting on canvas.
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and the "raw emotional grief surrounding Christ's death as depicted through the red eyes and visible tears of its female figures" as a case in point. Nelli's
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787:. The Villa Rossa Series: Intercultural Perspectives on Italy and Europe 4. Syracuse: Syracuse University Press (online: Cambridge University Press 2018).
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145:. There is a modern-day street in Florence, Via del Canto de' Nelli, in the San Lorenzo district, named for her family, and the New Sacristy of the
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Her work is distinguished from that of her influencers by the heightened sentiment she added to each of her characters' expressions. Author
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Dabbs, Julia K. (Fall 2010). "Plautilla Nelli (1524—1588): The
Painter-Prioress of Renaissance Florence by Jonathan K. Nelson".
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Nelli had the favor of many patrons (including women), executing large pieces and miniatures. Sixteenth-century art historian
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412:, based on Dr. Jane Fortune's book by the same title, features a segment on Suor Plautilla Nelli and the restoration of the
282:'s Department of Prints and Drawings were restored in 2007 and include several representations of the human figure such as
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Hayum, Andrée (June 2006). "A Renaissance
Audience Considered: The Nuns at S. Apollonia and Castagno's "Last Supper"".
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937:"After 450 Years in Storage, a Female Renaissance Master's 'Last Supper' Is Finally Unveiled in Florence"
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Hayum, Andrée (Fall 2015). "Gendered
Perceptions of Florentine Last Supper Frescoes, c. 1350–1490".
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278:, in the refectory of Santa Maria Novella, is the only work Nelli signed. Her nine drawings in the
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Most of Nelli's works are large-scale, which was most uncommon for a woman to paint, in her era.
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subjects, Nelli successfully placed herself among the ranks of her male counterparts, such as
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was under restoration for four years. The work then went on exhibit in
October 2019 at the
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880:"The Restoration," in Cristina Acidini, etc., Orate Pro Pictora: Pray for the Paintress
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The
Restoration of the Lamentation with Saints: Plautilla Nelli (Florence 1523-1588)
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Restoration of the Last Supper supported by the Advancing Women Artists Foundation
857:(in English and Italian) (2. ed.). Florence, Italy: The Florentine Press.
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mentioning her from 1568 edition with illustration of Properzia de' Rossi by
696:"Restored to glory: How a 16th-century nun regained her place in art history"
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649:"Restored to glory: How a 16th-century nun regained her place in art history"
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Plautilla Nelli (1524-1588): The Painter-Prioress of Renaissance Florence
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Nelli produced mainly devotional pieces including large-scale paintings,
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Though she was self-taught, she copied works of the mannerist painter
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Fortune, Jane; Linda Falcone (2010). "3: Pray for the Paintress ".
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The Lives of the Most Excellent Painters, Sculptors, and Architects
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350:'s painting of the subject, also painted in the sixteenth century.
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is exhibited in the Certosa di Galluzzo Monastery, near Florence.
626:(in English and Italian) (2. ed.). : The Florentine Press.
370:, there has been more investigation into Nelli's life and art.
233:
Lives of the Most Excellent Painters, Sculptors, and Architects
189:. Her primary source of inspiration came from copying works of
326:, is the only signed work by Plautilla Nelli known to survive.
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810:
Art by Women in Florence: A Guide through Five Hundred Years
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The Restoration of Lamentation with Saints: Plautilla Nelli
252:(in the large refectory, San Marco Museum, restored 2006),
120:, Florence, and was heavily influenced by the teachings of
248:, book illustrations, and drawings. Her paintings include
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The Emmy-winning PBS television documentary (June, 2013)
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264:, also at San Salvi, is a copy of the same subject by
995:"Director of the San Marco Museum in Florence, Italy"
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is another of her most significant works, as are her
882:. Florence, Italy: The Florentine Press. p. 6.
812:. Florence, italy: The Florentine Press. p. 8.
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334:is the first depiction of the subject by a woman.
226:She is one of the few female artists mentioned in
684:(Vol. 1 ed.). New York: Everyman's Library.
855:Invisible Women. Forgotten Artists of Florence
624:Invisible Women: Forgotten Artists of Florence
409:Invisible Women, Forgotten Artists of Florence
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322:, a 7x2-meter oil painting on canvas in the
218:The Painter-Prioress of Renaissance Florence
964:"Orate pro pictoria - Pray for the painter"
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827:(Pbk ed.). New York: Modern Library.
149:is the original site of her family homes.
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240:Works created, rediscovered, and restored
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384:Advancing Women Artists Foundation
258:Saint Dominic Receiving the Rosary
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962:Fortune, Jane (19 October 2006).
808:Falcone, L.; Fortune, J. (2012).
465:Saint Dominic Receives the Rosary
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324:Basilica of Santa Maria Novella
907:10.1080/00043079.2006.10786289
330:Painted in the 1560s, Nelli's
96:(1524–1588) was a self-taught
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1097:16th-century Italian painters
185:and high Renaissance painter
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1023:. 2013-06-07. Archived from
783:Nelson, Jonathan K. (2008).
77:1588 (aged 63–64)
622:Fortune, Jane (2010). "3".
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402:PBS television documentary
27:Italian artist (1524–1588)
220:, by Jonathan K. Nelson.
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823:Vasari, Giorgio (2006).
308:Saint Catherine of Siena
300:Basilica of San Domenico
1142:Female Catholic artists
437:Lamentation with Saints
250:Lamentation with Saints
206:Lamentation with Saints
108:. She was a nun of the
1112:Italian women painters
493:St. Catherine of Siena
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310:, both in the Uffizi.
212:, which is now in the
124:and by the artwork of
114:St. Catherine of Siena
94:Sister Plautilla Nelli
85:Grand Duchy of Tuscany
1102:Painters from Tuscany
571:Renaissance Quarterly
528:Bust of a Young Woman
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284:Bust of a Young Woman
193:, which mirrored the
147:Church of San Lorenzo
1001:on 24 September 2013
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556:Kneeling Male Figure
364:Domenico Ghirlandaio
292:Kneeling Male Figure
171:Maria Angelica Razzi
67:Republic of Florence
18:Suor Plautilla Nelli
344:Santa Maria Novella
214:Museum of San Marco
1117:Italian Dominicans
1070:2017-03-30 at the
974:on 2 February 2014
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943:. 17 October 2019
864:978-88-902434-5-5
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764:: 303–306.
417:with Saints
414:Lamentation
386:'s founder
374:Documentary
368:Lamentation
332:Last Supper
270:Crucifixion
210:Lamentation
116:located in
112:convent of
104:painter of
102:Renaissance
1081:Categories
1053:Wikisource
1031:2 February
947:18 October
706:2022-12-08
666:2019-10-20
563:References
195:classicism
155:Savonarola
122:Savonarola
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661:0029-7712
423:Paintings
296:Pentecost
110:Dominican
1068:Archived
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362:and
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