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887:. Fabrizio was said to be supportive of her painting. Anguissola and her husband left Spain with the king's permission, and are believed to have lived in Paternò (near Catania) from 1573 to 1579, though some recent scholarship has suggested that the couple remained in Spain. She received a royal pension of 100 ducats that enabled her to continue working and tutoring would-be painters. Her private fortune also supported her family and brother Asdrubale following Amilcare Anguissola's financial decline and death. In Paternò she painted and donated "La Madonna dell'Itria".
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Although
Anguissola enjoyed significantly more encouragement and support than the average woman of her day, her social class did not allow her to transcend the constraints of her sex. Without the possibility of studying anatomy or drawing from life (it was considered unacceptable for a lady to view nudes), she could not undertake the complex multi-figure compositions required for large-scale religious or
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be painted. Additional pieces show how she rebels against the notion that women are objects, in essence an instrument to be played by men. Her self-portrait of 1561 show her playing an instrument, taking on a different role. In her later portraits she represents multiple statuses by using a double portrait image portraying herself as an artist or a wife.
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Anguissola's husband died in 1579 under mysterious circumstances. Two years later, while traveling to
Cremona by sea, she fell in love with the ship's captain, sea merchant Orazio Lomellino. Against the wishes of her brother, they married in Pisa on 24 December 1584 and lived in Genoa until 1620. She
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Lomellino's fortune, plus a generous pension from Philip II, allowed
Anguissola to paint freely and live comfortably. By now quite famous, Anguissola received many colleagues who came to visit and discuss the arts with her. Several of these were younger artists, eager to learn and mimic Anguissola's
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in 1568, Philip II took a special interest in
Anguissola's future. He had wished to marry her to one of the nobles in the Spanish Court. In 1571, when she was approaching the age of 40, Anguissola entered an arranged marriage to a Sicilian nobleman chosen for her by the Spanish court. Philip II paid
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Anguissola's self-portraits also offer evidence of what she thought her place was as a woman artist. Normally, men were seen as creative actors and women as passive objects, but in her self-portrait of 1556, Anguissola presents herself as the artist, separating herself from the role as the object to
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and sent it back to
Michelangelo, who immediately recognized her talent. Michelangelo subsequently gave Anguissola sketches from his notebooks to draw in her own style and offered advice on the results. For at least two years, Anguissola continued this informal study, receiving substantial guidance
732:, who was only 14 at the time. Queen Elisabeth of Valois and Anguissola became good friends, and when the Queen died nine years later, Anguissola left the court because she was so sad. She had painted the entire royal family and even the Pope commissioned Anguissola to do a portrait of the Queen.
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Her most distinctive and attractive paintings are her portraits of herself and her family, which she painted before she moved to the
Spanish court. In particular, her depictions of children were fresh and closely observed. At the Spanish court she painted formal state portraits in the prevailing
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These types of painting were far more demanding than the informal portraits upon which
Anguissola had based her early reputation, as it took a tremendous amount of time and energy to render the many intricate designs of the fine fabrics and elaborate jewelry associated with royal subjects. Yet
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Anguissola's education and training had different implications from those of men, since men and women worked in separate spheres. Her training was not to help her into a profession where she would compete for commissions with male artists, but to make her a better wife, companion, and mother.
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Anguissola is significant to feminist art historians. Although there has never been a period in
Western history in which women were completely absent in the visual arts, Anguissola's great success opened the way for larger numbers of women to pursue serious careers as artists;
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2076:. Toronto, Ontario: Goose Lane Editions, 2023. Published in conjunction with an exhibition of the same title, organized by and presented at the Baltimore Museum of Art, October 1, 2023-January 7, 2024 and the Art Gallery of Ontario, March 30, 2024-July 1, 2024.
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The main body of
Anguissola's earlier work consists of self-portraits (the many "autoritratti" reflect the fact that portraits of her were frequently requested due to her fame) and portraits of her family, which are considered by many to be her finest works.
470:!", i.e.: "The snake alone brought the victory!" This saying became very popular, and Galvano himself was nicknamed "Anguissola". The emperor eventually bestowed the Anguissola surname to all his descendants. In this regard, it has been suggested that the
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Anguissola's example, as much as her oeuvre, 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 paintings can be seen at galleries in
988:). Her work was akin to the worldly tradition of Cremona, influenced greatly by the art of Parma and Mantua, in which even religious works were imbued with extreme delicacy and charm. From Gatti she seems to have absorbed elements reminiscent of
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by another painter who was familiar with her work. Anguissola initially showed
Michelangelo a drawing of a laughing girl, but the painter challenged her to draw a weeping boy, a subject which he felt would be more challenging. Anguissola drew
586:, Europa, Minerva and Anna Maria) to cultivate and perfect their talents. Four of the sisters (Elena, Lucia, Europa and Anna Maria) became painters, but Sofonisba was by far the most accomplished and renowned and taught her younger siblings.
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To Sofonisba, my wife, who is recorded among the illustrious women of the world, outstanding in portraying the images of man. Orazio Lomellino, in sorrow for the loss of his great love, in 1632, dedicated this little tribute to such a great
770:, Philip's third wife, who was herself an amateur portraitist. Anguissola soon gained Elisabeth's admiration and confidence and spent the following years painting many official portraits for the court, including Philip II's sister,
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In her later life, Anguissola painted not only portraits but religious themes, as she had done in the days of her youth, although many of the latter have been lost. She was the leading portrait painter in Genoa until she moved to
625:'s. Anguissola's apprenticeship with local painters set a precedent for women to be accepted as students of art. Dates are uncertain, but Anguissola probably continued her studies under Gatti for about three years (1551–1553).
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Her aristocratic father made sure that Anguissola and her sisters received a well-rounded education that included the fine arts. Anguissola was fourteen when her father sent her and her sister Elena to study with
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explored a new kind of genre painting which places her sisters in a domestic setting instead of the formal or allegorical settings that were popular at the time. This painting has been regarded as a
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According to this tradition, the Anguissolas are descended from the Constantinopolitan warlord Galvano Sordo or Galvano de Soardi/Sourdi (Σούρδη, a family name still in use today in Greece,
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Museum. With the gifts and a dowry of 12,000 scudi she earned along with her salary as court painter and lady-in-waiting to the queen, she amassed an admirable return from her craft.
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Instead, she experimented with new styles of portraiture, setting subjects informally. Self-portraits and family members were her most frequent subjects, as seen in such paintings as
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is an intimate representation of an everyday family scene, combining elaborate formal clothing with very informal facial expressions, which was unusual for Italian art at this time.
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is the "only securely attributed work surviving from this period". For the royal family, Anguissola produced detailed scenes of their lives that now hang in the
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Anguissola's adoring second husband, who described her as small of frame, yet "great among mortals", buried her with honor in Palermo at the Church of
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940:. Seven years later, on the anniversary of what would have been her 100th birthday, her husband placed an inscription on her tomb that read in part:
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Sylvia Ferino-Pagden and Maria Kusche, Sofonisba Anguissola: A Renaissance Woman, (Washington D.C.: The National Museum of Women in the Arts, 1995).
617:, a respected portrait and religious painter of the Lombard school. When Campi moved to another city, Anguissola continued her studies with painter
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223:, and her apprenticeship with local painters set a precedent for women to be accepted as students of art. As a young woman, Anguissola traveled to
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nobility, and her mother, Bianca Ponzone, was also of noble background. The family lived near the site of a famous 2nd century B.C. battle, the
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Sofonisba Anguissola's oeuvre had a lasting influence on subsequent generations of artists. Her portrait of Queen Elisabeth of Valois with a
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Mary Garrard, "Here's Looking at Me: Sofonisba Anguissola and the Problem of the Woman Artist," Renaissance Quarterly 47, no. 3:(1994): 557.
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Mary Garrard, "Here's Looking at Me: Sofonisba Anguissola and the Problem of the Woman Artist," Renaissance Quarterly 47, no. 3:(1994): 556.
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During her 14-year residence, she guided the artistic development of Queen Elisabeth, and influenced the art made by her two daughters,
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She became well known outside of Italy, and in 1559 King Philip II of Spain asked her to be lady-in-waiting and art teacher to Queen
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701:(1555, Muzeum Narodowe, Poznań), which depicted her sisters Lucia, Minerva and Europa. Painted when Anguissola was 23 years old,
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Anguissola was approximately 26 when she left Italy to join the Spanish court. In the winter of 1559–1560, she arrived in
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wrote that Anguissola "has shown greater application and better grace than any other woman of our age in her endeavors at
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Anguissola became a wealthy patron of the arts after the weakening of her sight. In 1625, she died at age 93 in Palermo.
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Portrait of Elisabeth of Valois (1545–1568), Queen consort of Spain and her daughter Isabella Clara Eugenia (1566–1633)
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The influence of Campi, whose reputation was based on portraiture, is evident in Anguissola's early works, such as the
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1565–1568), the best painter of Sophonisba's sisters, died young. The remaining sister, Minerva, became a writer and
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Approximately fifty works have been attributed to Anguissola. Her paintings can be seen at galleries in Baltimore (
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in 1532, the oldest of seven children, six of whom were girls. Her father, Amilcare Anguissola, was a member of the
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2023-2024: Anguissola is featured in the exhibit "Making Her Mark: A History of Women Artists in Europe, 1400-1800"
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632:(c. 1550). The unusual double portrait depicts Anguissola's art teacher in the act of painting a portrait of her.
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Repertorio genealogico delle famiglie confermate nobili e dei titolati nobili esistenti nelle provincie venete...
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759:. The following year, Anguissola was invited to join the Spanish Court, which was a turning point in her career.
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2028:"A Tale of Two Women Painters: Sofonisba Anguissola and Lavinia Fontana - Exhibition - Museo Nacional del Prado"
918:, portrait of Anguissola in 1624, when she was 92 and, according to Van Dyck's notes, mentally still very sharp.
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Lady in Ermine — The Story of a Woman Who Painted The Renaissance: A Biographical Novel of Sofonisba Anguissola
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In 1558, already established as a painter, Anguissola went to Milan, where she painted the Duke of Alba,
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Jacobs, Fredrika (Spring 1994). "Woman's capacity to create: The unusual case of Sofonisba Anguissola".
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Garrard, Mary (1994). "Here's looking at me: Sofonisba Anguissola and the problem of the woman artist".
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597:– 1584) abandoned painting to become a nun. Both Anna Maria and Europa gave up art upon marrying, while
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The Lady of the Painting: The Life of Sofonisba Anguissola, Gentlewoman and Artist of the Renaissance
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Jacobs, Frederika H. (1994). "Woman's Capacity to Create: The Unusual Case of Sofonisba Anguissola".
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Nicholson, Elizabeth S. G.; Price, Rebecca; McAllister, Jane; Peterfreund, Karen I., eds. (2007).
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Costa, Patrizia (1999). "Sofonisba Anguissola's Self-portrait in the Boston Museum of Fine Arts".
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1355:"Self-Portrait; Sofonisba Anguissola (Italian (Cremonese), about 1532–1625); Italian; about 1556"
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had no children, but maintained cordial relationships with her nieces and her stepson, Giulio.
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La signora della pittura: vita di Sofonisba Anguissola, gentildonna e artista nel Rinascimento
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Glenn, Sharlee Mullins (November 1990). "Sofonisba Anguissola: History's forgotten prodigy".
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to a relatively poor noble family. She received a well-rounded education that included the
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in 1561 and, after Queen Elisabeth's death in childbirth in 1568, painted the likeness of
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de Tolnay, Charles (1941). "Sofonisba Anguissola and her relations with Michelangelo".
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official style, as one of the first, and most successful, of the relatively few female
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Portrait of Marquess Massimiliano Stampa (1557), the artist's first commissioned work.
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Giordano, Francesco (29 June 2006). "Sofonisba Anguissola: una vita per la pittura".
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scholar. Asdrubale, Sophonisba's brother, studied music and Latin, but not painting.
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Glenn, Sharlee Mullins (1990), "Sofonisba Anguissola: History's Forgotten Prodigy",
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Elizabeth of Valois (Attr. Sofonisba Anguissola, 1561–1565). Museo del Prado, Madrid
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despite the challenge, Anguissola's paintings of Elisabeth of Valois – and later of
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who had kept it besieged by land and sea". This "artificial fire" was the so-called
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and other regions of Italy. The Anguissolas who settled in Venice belonged to the
1687:"Review of Sofonisba Anguissola: The First Great Woman Artist of the Renaissance"
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family are linked to an ancient Byzantine tradition, rich in historical details.
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2022: "Sofonisba – History's forgotten miracle" in the Nivaagaard Malerisamling
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Portrait of Joanna of Austria, Princess of Portugal. 1550s. Private collection.
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depicted on Anguissola's miniature self-portrait may contain the family motto "
279:. Later in her life she also painted religious subjects, although many of her
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1485:"Life and Works of Sofonisba Anguissola, Noblewoman, Portraitist of Philip II"
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mentioning her from 1568 edition with illustration of Properzia de' Rossi by
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While in the service of Elisabeth of Valois, Anguissola worked closely with
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2103:, vol. 2 (9th ed.), New York: Charles Scribner's Sons, p. 47
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Banta, Andaleeb Badiee, Alexa Greist, and Theresa Kutasz Christensen, eds.
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243:, was a keen amateur painter and in 1559 Anguissola was recruited to go to
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852:. Only recently has Anguissola been recognized as the painting's creator.
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military victories, most notably the salvation of Constantinople from two
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historical characters: Amilcare was named for the Carthaginian general
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A Cremonese school bears the name Liceo Statale Sofonisba Anguissola.
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Sofonisba Anguissola: The First Great Woman Artist of the Renaissance
2123:, vol. 2 (11th ed.), Cambridge University Press, p. 44
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On 12 July 1624, Anguissola was visited by the young Flemish painter
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Portrait of Francesco I de Medici, Grand Duke of Tuscany (1541–1587)
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expressed in a letter written in 1579 that she and another woman,
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to serve as a court painter and lady-in-waiting to the new queen,
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996:(1555; Poznań, N. Mus.) in which portraiture merges into a quasi-
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Making her Mark: A History of Women Artists in Europe, 1400-1800
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The Obstacle Race: The Fortunes of Women Painters and Their Work
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1126:(1786–1859; married name Sellers). She became a painter and a
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in her last years. In 1620 she painted her last self-portrait.
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Giordano, Francesco (2008). "Sofonisba Anguissola a Paternò".
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Sofonisba Anguissola was born into a poor but noble family in
478:" or, more simply, the name of Anguissola's father, Amilcare.
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Infanta Isabella Clara Eugenia and Infanta Catherine Michaela
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Weidemann, Christiane; Larass, Petra; Klier, Melanie (2008).
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Malerisambling, Nivå, Denmark), and her most famous picture,
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Family Portrait of Minerva, Amilcare and Asdrubale Anguissola
2338:(2–3). Gordon and Breach, Science Publishers S.A.: 295–308.
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Ricerche-C.R.E.S. Centro di Ricerca Economica e Scientifica
1580:"Sofonisba Anguissola: Late Renaissance | Unspoken Artists"
786:, Philip II's fourth wife – were vibrant and full of life.
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allegedly took inspiration from Anguissola's work for his
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Portrait of Bianca Ponzoni Anguissola, the artist's mother
251:. She later became an official court painter to the king,
2014:"Planetary Names: Crater, craters: Anguissola on Mercury"
1827:, 1996, p. 7, Ministerio de Educación y Cultura, Madrid,
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The Prado Philip II, now recognised as by Anguissola
407:, and "with an ingenious artificial fire, contributed to
1357:. Boston: Museum of Fine Arts. Accession number 60.155.
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Self-portrait at the Easel Painting a Devotional Panel
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scene, a characteristic derived from Brescian models.
805:. Anguissola painted a portrait of the King's sister,
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Portrait of Amilcare, Minerva and Asdrubale Anguissola
2178:. New York: Los Angeles County Museum of Art, Knopf.
2415:. Washington, DC: National Museum of Women in Arts.
1447:"Sofonisba Anguissola | Biography, Art, & Facts"
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2023: "Sofonisba Anguissola" in Rijksmuseum Twenthe
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Orazio Lomellino, Inscription on Anguissola's tomb.
635:In 1554, at age twenty-two, Anguissola traveled to
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1812:. Oxford University Press. Web. 14 February 2017.
994:Lucia, Minerva and Europa Anguissola Playing Chess
755:. He in turn recommended her to the Spanish king,
2521:The Lone Snake: The Story of Sofonisba Anguissola
2392:Italian Women Artists from Renaissance to Baroque
1906:. New Haven: Yale University Press. p. 171.
1863:. Oxford University Press. Retrieved 26 May 2014.
1850:. Oxford University Press. Retrieved 23 May 2014.
1286:Gamberini, Cecilia (2016). Barker, Sheila (ed.).
2828:Portrait of Queen Elisabeth of Spain (1545–1568)
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231:, who immediately recognized her talent, and to
2446:] (in Spanish). Madrid: Editorial Siruela.
2170:Harris, Ann Sutherland; Nochlin, Linda (1976).
1904:Van Dyck: A Complete Catalogue of the Paintings
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1043:), Southampton (City Art Gallery), and Vienna (
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283:have been lost. In 1625, she died at age 93 in
267:, where she continued to practice as a leading
2832:Portrait of the Infanta Isabella Clara Eugenia
2710:Bernardino Campi Painting Sofonisba Anguissola
1622:Old mistresses : women, art, and ideology
1289:Sofonisba Anguissola at the Court of Philip II
630:Bernardino Campi Painting Sofonisba Anguissola
2739:Portrait of Juana of Austria and a Young Girl
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2411:Pagden, Sylvia Ferino; Kusche, Maria (1995).
2151:Ferino-Pagden, Sylvia; Kusche, Maria (1995).
1369:"Anguissola – EFL – Società Storica Lombarda"
1273:"Anguissola – EFL – Società Storica Lombarda"
840:Queen Anna of Austria by Sofonisba Anguissola
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879:a dowry of 12,000 scudi for her marriage to
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441:Since the shield of the Sourdi carried the
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2485:(in Italian). Lurago d'Erba: Il Ciliegio.
1887:: CS1 maint: location missing publisher (
1733:"Portrait of Marquess Massimiliano Stampa"
1652:: CS1 maint: location missing publisher (
930:. The next year, she returned to Sicily.
20:
2623:List of paintings by Sofonisba Anguissola
2413:Sofonisba Anguissola: A Renaissance Woman
2153:Sofonisba Anguissola: A Renaissance Woman
2046:"Sofonisba – History's forgotten miracle"
1875:Anton Van Dyck: Italienisches Skizzenbuch
1825:Museo del Prado, Catálogo de las pinturas
1057:List of paintings by Sofonisba Anguissola
972:Sofonisba Anguissola, Self-Portrait, 1610
459:, his brothers-in-arms and the people of
203: – 16 November 1625), also known as
2647:Self-portrait (Kunsthistorisches Museum)
2458:– a novel on Sofonisba Anguissola's life
2155:. National Museum of Women in the Arts.
967:
788:
429:
2782:Portrait of Anna of Austria (1549–1580)
1554:"Michelangelo Buonarroti and his women"
1395:"ANGUISSOLA in "Enciclopedia Italiana""
1198:
483:pestilence that raged in Constantinople
427:, thus securing the Empire's survival.
2754:Portrait of a Boy at the Spanish Court
1880:
1645:
1315:
1305:
2725:Portrait of Prince Alessandro Farnese
2706:Portrait of Giovanni Battista Caselli
2692:Portrait of Bianca Ponzoni Anguissola
2523:. Sheboygan, WI: Water's Edge Press.
2247:Sofonisba Anguissola e le sue sorelle
1859:Jaffé, Michael. "Dyck, Anthony van."
1775:
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1433:
1431:
381:The origin and the name of the noble
183:The artist's sisters are depicted in
7:
2799:Portrait of a Young Woman in Profile
2220:] (in Italian). Milan: Rizzoli.
455:), after Galvano's victory over the
2651:Self-portrait (Museo Poldi Pezzoli)
1861:Grove Art Online. Oxford Art Online
1848:Grove Art Online. Oxford Art Online
1209:. Phaidon Press. 2019. p. 35.
570:. Amilcare Anguissola, inspired by
437:, 1556. Boston Museum of Fine Arts.
409:liberate the city of Constantinople
2962:16th-century Italian women artists
2937:17th-century Italian women artists
2825:Madonna Suckling the Infant Christ
2687:Portrait of Massimiliano II Stampa
2396:. Milan: Skira. pp. 106–121.
2268:Journal of the Walters Art Gallery
1685:Cheney, Liana De Girolami (1993).
1339:(in Italian). Alvisopoli. p.
1247:
1232:
1159:2019-2020: Anguissola, along with
501:, and built autonomous estates in
14:
2193:Perlingieri, Ilya Sandra (1992).
1928:"The High Priestess: Description"
621:(known as Il Sojaro), a pupil of
396:). In 717, Galvano served in the
189:, 1555. National Museum in Poznań
2251:(in Italian). Milan: Mondadori.
1749:50 Women Artists You Should Know
517:of that city from 1499 to 1612.
165:
31:
2922:Italian people of Greek descent
2733:Portrait of Elisabeth of Valois
2698:Portrait of the Artist's Family
2558:Isabella Stewart Gardner Museum
2483:Sofonisba I ritratti dell'anima
1513:, New York: Farrar, p. 180
1122:(1741–1827) named his daughter
297:Isabella Stewart Gardner Museum
247:as her tutor, with the rank of
2779:Portrait of Philip II of Spain
2751:Portrait of Philip II of Spain
2744:Portrait of Minerva Anguissola
2504:(in Italian). Milano: Electa.
1033:National Museum of Capodimonte
655:Experiences as a female artist
16:Italian painter (c. 1532–1625)
1:
2932:17th-century Italian painters
2927:16th-century Italian painters
2811:Portrait of Giuliano Cesarini
2729:Portrait of Joanna of Austria
2344:10.1080/00497878.1990.9978837
2136:. London: Thames and Hudson.
1691:The Sixteenth Century Journal
1538:10.1080/00497878.1990.9978837
865:
667:Painting Sofonisba Anguissola
602:
591:
372:
197:
49:
40:, 1556, Lancut Museum, Poland
2972:Italian Renaissance painters
2639:Portrait of Elena Anguissola
2212:Pizzagalli, Daniela (2003).
2114:"Sophonisba Angussola"
2094:"Sophonisba Angussola"
1993:biography.yourdictionary.com
1989:"Sofonisba Anguissola Facts"
1930:. 78 Friends. Archived from
1846:Tanzi, Marco. "Anguissola."
227:where she was introduced to
2466:. Tempe, AZ: Bagwin Books.
2091:Baynes, T. S., ed. (1878),
1804:Marco Tanzi. "Anguissola."
1292:. Brepols. pp. 29–38.
881:Fabrizio Moncada Pignatelli
476:Anguis sola fecit victoriam
213:Italian Renaissance painter
2998:
2942:Italian Mannerist painters
2500:Pierini, Giovanna (2018).
2462:DiGiuseppe, Donna (2019).
2128:Chadwick, Whitney (1990).
1132:Philadelphia Museum of Art
1054:
753:Fernando Álvarez de Toledo
72:16 November 1625 (aged 93)
2947:Italian portrait painters
2863:Child Bitten by a Lobster
2663:Self-Portrait at a Spinet
2444:The Virgin and the Violin
2438:Boullosa, Carmen (2008).
2310:I Paternesi de La Sicilia
2197:. Rizzoli International.
1333:Schroeder, Franz (1830).
173:
164:
155:
151:
135:
30:
2847:Self-portrait in old age
2808:Portrait of a Young Lady
2502:La dama con il ventaglio
2481:Montani, Chiara (2018).
2432:Novels based on her life
2174:Women Artists: 1550–1950
1509:Greer, Germaine (1978),
1045:Kunsthistorisches Museum
938:San Giorgio dei Genovesi
746:Queen Elisabeth of Spain
687:Kunsthistorisches Museum
647:Boy Bitten by a Crayfish
235:, where she painted the
2805:Three children with dog
2802:A Man with his Daughter
2669:Miniature Self-Portrait
2643:Self-portrait {Gallery}
2243:Caroli, Flavio (1987).
2132:Women, Art, and Society
2120:Encyclopædia Britannica
2100:Encyclopædia Britannica
1451:Encyclopedia Britannica
1130:whose works are in the
1062:Historical significance
1037:National Museum, Poznań
850:Juan Pantoja de la Cruz
435:Miniature self-portrait
2952:Italian women painters
2060:"Sofonisba Anguissola"
1902:Barnes, Susan (2004).
1873:Adriani, Gert (1940).
1781:"Sofonisba Anguissola"
1081:Boy Bitten by a Lizard
973:
960:
953:
919:
871:
841:
833:
799:Isabella Clara Eugenia
794:
748:
725:
670:
572:Baldassare Castiglione
535:
521:Childhood and training
497:, the Scottis and the
438:
378:
209:Sophonisba Anguisciola
190:
2917:Painters from Cremona
2694:(the artist's mother)
2440:La virgen y el violín
2361:Renaissance Quarterly
2281:Renaissance Quarterly
1947:Renaissance Quarterly
1814:subscription required
1150:was named after her.
1124:Sophonisba Angusciola
1120:Charles Willson Peale
1110:Artemisia Gentileschi
1017:Joanneum Alte Galerie
971:
958:
914:
863:
846:Alonso Sanchez Coello
839:
831:
792:
743:
723:
662:
552:battle of the Trebbia
528:
433:
365:
239:. The Spanish queen,
182:
2982:Artists from Palermo
2977:Sofonisba Anguissola
2771:Portrait of a Couple
2609:Sofonisba Anguissola
2568:The Kress Foundation
2519:Vihos, Lisa (2022).
2427:– exhibition catalog
2032:www.museodelprado.es
1752:. Prestel. pp.
1094:Irene di Spilimbergo
1041:Pinacoteca Nazionale
1029:Milwaukee Art Museum
1011:), Bergamo, Berlin (
736:At the Spanish Court
405:Leo III the Isaurian
305:Milwaukee Art Museum
205:Sophonisba Angussola
194:Sofonisba Anguissola
25:Sofonisba Anguissola
1620:(29 October 1981).
1207:Great women artists
1142:On 4 August 2017 a
1025:Pinacoteca di Brera
900:distinctive style.
876:Elisabeth of Valois
874:After the death of
768:Elisabeth of Valois
730:Elisabeth of Valois
651:from Michelangelo.
281:religious paintings
241:Elizabeth of Valois
2683:Portrait of a Monk
1009:Walters Art Museum
974:
961:
920:
872:
842:
834:
803:Catherine Michaela
795:
749:
726:
711:conversation piece
671:
536:
439:
379:
191:
146:Philip II of Spain
2889:
2888:
2656:The Game of Chess
2530:978-1-952526-10-7
2473:978-0-86698-821-6
2227:978-88-17-99509-2
2204:978-0-8478-1544-9
2185:978-0-394-41169-9
2162:978-0-940979-31-4
2143:978-0-500-20354-5
1913:978-0-300-09928-7
1810:Oxford Art Online
1763:978-3-7913-3956-6
1618:Pollock, Griselda
1560:. 2 November 2017
1308:cite encyclopedia
1299:978-1-909400-35-1
1072:Peter Paul Rubens
807:Margaret of Parma
676:history paintings
402:Byzantine emperor
346:Her contemporary
186:The Game of Chess
177:
176:
115:Portrait painting
80:Kingdom of Sicily
2989:
2880:Elena Anguissola
2768:Virgin and Child
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951:
924:Anthony van Dyck
916:Anthony van Dyck
870:
867:
665:Bernardino Campi
619:Bernardino Gatti
615:Bernardino Campi
604:
601:(1536 or 1538 –
599:Lucia Anguissola
596:
593:
588:Elena Anguissola
377:
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269:portrait painter
202:
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105:Bernardino Gatti
101:Bernardino Campi
54:
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2967:Sibling artists
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1090:Lavinia Fontana
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1021:Museo del Prado
966:
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864:Self-portrait,
858:
815:Anne of Austria
784:Anne of Austria
774:, and his son,
738:
693:(c. 1557–1558,
669:, c. 1550s
657:
594:
568:Hasdrubal Barca
523:
481:Fleeing from a
468:fecit victoriam
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1013:Gemäldegalerie
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707:The Chess Game
703:The Chess Game
699:The Chess Game
656:
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560:Hamilcar Barca
522:
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461:Constantinople
390:Constantinople
359:
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348:Giorgio Vasari
337:Uffizi Gallery
277:court painters
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2084:Bibliography
2073:
2068:
2054:
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2031:
2022:
2008:
1996:. Retrieved
1992:
1983:
1950:
1946:
1940:
1932:the original
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1784:
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1529:
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1450:
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1413:
1409:
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1389:
1379:12 September
1377:. Retrieved
1375:(in Italian)
1372:
1363:
1349:
1335:
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1288:
1281:
1255:
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1141:
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237:Duke of Alba
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2907:1532 births
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1019:), Madrid (
895:Later years
869: 1560
695:Nivaagaards
689:, Vienna),
595: 1532
495:Caracciolos
466:Anguis sola
449:(in Latin:
425:Arab sieges
376: 1559
201: 1532
130:Renaissance
87:Nationality
53: 1532
2896:Categories
2735:, (Madrid)
2616:Paintings:
2553:Wikisource
2422:0940979314
2312:. Catania.
2274:: 115–119.
1790:16 January
1631:0710008791
1624:. London.
1589:16 January
1564:16 January
1494:16 January
1456:16 January
1076:Caravaggio
1039:), Siena (
1023:), Milan (
776:Don Carlos
564:Sophonisba
515:patriciate
417:Greek fire
383:Anguissola
2873:Relatives
2352:0049-7878
1975:162701161
1883:cite book
1877:. Vienna.
1711:0361-0160
1648:cite book
1318:ignored (
1248:EB (1911)
1233:EB (1878)
1167:, Madrid.
1068:zibellino
1015:), Graz (
990:Correggio
757:Philip II
623:Correggio
548:Cremonese
499:Viscontis
421:Byzantine
411:from the
301:Milwaukee
253:Philip II
221:fine arts
211:, was an
160:Signature
141:Patron(s)
97:Education
2882:(sister)
2855:Drawings
1489:Hubpages
1422:43132413
1181:See also
1074:, while
982:Florence
948:—
574:'s book
544:Lombardy
503:Piacenza
491:Gonzagas
487:Komnenoi
472:monogram
457:Umayyads
413:Saracens
341:Florence
317:Budapest
215:born in
125:Movement
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2301:2863021
1998:4 March
1967:2863112
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540:Cremona
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352:drawing
313:Brescia
309:Bergamo
285:Palermo
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764:Madrid
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493:, the
489:, the
452:anguis
445:of an
443:effigy
394:Smyrna
358:Family
331:, and
329:Naples
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293:Boston
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245:Madrid
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1051:Works
998:genre
964:Style
928:Knole
823:Prado
607:Latin
584:Lucia
580:Elena
333:Siena
265:Genoa
233:Milan
128:Late
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1889:link
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1792:2019
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1707:ISSN
1654:link
1636:OCLC
1626:ISBN
1591:2019
1566:2019
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1381:2018
1320:help
1294:ISBN
1211:ISBN
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801:and
637:Rome
398:army
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225:Rome
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