Tag: Renaissance Art
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Happy International Women’s Day
And thank you, Leticia Ruiz, for the beautiful curation of the exhibition.
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Master Sofonisba Anguissola
In honor of Sofonisba’s newly recognized accomplishments and the Prado exhibition of her work, I would like to present her Boy Bitten (drawn for Michelangelo) and her Girl Laughing next to each other to accentuate Sofonisba’s effort. She conceived of these close in time and the figures and positioning show how she experimented with subtle […]
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ANTICIPATING SOFONISBA’S EXHIBIT AT THE PRADO MUSEUM OPENING OCTOBER 22 IN MADRID.
I’m eager to return to the Prado Museum in Madrid in a few weeks for a close up inspection of Sofonisba’s Portrait of Philip II which I last viewed in storage in 2009 with the kind permission of Leticia Ruiz, curator of the upcoming exhibit. I originally met Dr. Ruiz through my association with Maria Kusche at Progetto […]
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Sofonisba’s Inventiveness; Vasari’s Inventione
Given Sofonisba’s 1554 Dominican Astronomer (signed and dated upside down), her nonconformist, voluptuous 1559 Virgin Mary (signed and dated) and her 1578 Madonna dell’ Itria, documented by her official bequest to the monastery (disputed for years as beyond her style), one cannot deny Sofonisba’s range, and the reason Vasari uses the term invenzione to describe her. Which […]
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Who Painted the Lady in Ermine? Sofonisba or El Greco? Biography not Brushstrokes convinces: It’s Sofonisba, Cradle to Grave
The details of Sofonisba Anguissola’s life show that she had the physical and geographical opportunity to paint a mature Catalina Micaela that her male contemporaries El Greco and Coello did not being far away in Spain. Sofonisba also had personal insight into the Infanta’s private world to render the Infanta of Spain, Catalina Micaela, as […]
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Sofonisba Was Not Always Forgotten
In 1774, Giambattista Zaist wrote Notizie Istoriche de’ Pittori, Scultori, ed Architetti Cremonesi or Historical Notes of Painters, Sculptors, and Architects of Cremona. For seven pages he writes about the accomplishments of Sofonisba Anguissola, recounting her early years, her time in Spain, her long legacy. He concludes with these words, “che superò l’artifizio non solo […]
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Sofonisba in the Seventeenth Century
Sofonisba Anguissola continued painting well into her senior years and stopped only after her eyesight failed, as Anthony van Dyck noted in his sketchbook. The Palazzo Abatellis in Palermo attributes this sweet Madonna and Child to Sofonisba in the seventeenth century.
Lady In Ermine: The Story of A Woman Who Painted The Renaissance 