| Description |
256 pages : illustrations ; 23 cm |
| Note |
Originally published: 1997. |
| Contents |
Problems of Praise and Pythagorean Contrariety -- (Pro)creativity -- Melancholia: A Case Study -- La Donnesca Mano -- Misplaced Modifiers -- Femmina Masculo e Masculo Femmina -- A Roster of Sixteenth-Century Italian Women Artists -- Rime, Madrigali, and Other Early Writings on Artists and Art -- Ridolfo Campeggi, Delle Poesie, 1620 -- "Alla Signora Lavinia Fontana Pittrice famosa" -- "Al Sig. Guido Reni Pittore Eccellentiss" -- Giambattista Marino, La Galeria, 1619/20 -- "La Decollatione di San Giovanni Battista, di Titiano" -- "Herodiade con la testa di San Giovanni Battista, di Lavinia Fontana" -- Mutio Manfredi, I Madrigali, 1606 -- Three madrigals "Per la Signora Barbara Lunghi eccellentissima pittrice, e pertetua virgine" -- Three madrigals "Per la Signora Fede Galitia, Fanciula nell'Arte della Pittura eccellentiss" -- Mutio Manfredi: Comments concerning Barbara Longhi from a lecture delivered to the Accademia de'Confusi, Bologna, 4 February 1575 -- Giulio Cornelio Gratiano, Di Orlando Santo vita, 1636, excerpt, bk. IV -- Rime di diversi nobilissimi, et eccellentissima autori -- in morte della Signora Irene delle Signore di Spilimbergo, 1561 -- Federico Frangipane, "Mentre IRENE gentil..." -- Giacomo Tiepolo, "Mentre la bella, and giovenetta IRENE..." -- Gioseppe Betussi, "Qui sepolta non e la bella IRENE..." -- Gio. Battista Pigna, "Se la Vergine e 'n ciel..." -- Titian, "EGREGIA poteras spirantes fingere uultus..." -- Ippolita Gonzaga, "Quella, che co'i soavi almi concenti...". |
| Summary |
Leonardo, Raphael, and Michelangelo are familiar names that are often closely associated with the concepts of genius and masterpiece. But what about Sofonisba Anguissola, Lavinia Fontana, and Irene di Spilimbergo? Their names are unfamiliar and their works are literally unknown. Why? Defining the Renaissance Virtuosa considers the language of art in relationship to the issues of gender difference through an examination of art criticism written between 1550 and 1800 on approximately forty women artists who were active in Renaissance Italy. Fredrika Jacobs demonstrates how these theoretical writings defined women artists by linking artistic creation with biological procreation. She also examines the ambiguity of these women as both beautiful objects and creators of beautiful objects. Jacobs's study shows how deeply the biases of these early critics have affected both subsequent reception of these Renaissance virtuose and modern scholarship. |
| Subject |
Women artists -- Italy.
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Feminist art criticism.
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Art, Renaissance -- Italy -- History and criticism.
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Art, Renaissance. (OCoLC)fst00816786
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Feminist art criticism. (OCoLC)fst00922756
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Women artists. (OCoLC)fst01177159
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Italy. (OCoLC)fst01204565
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| Genre/Form |
Criticism, interpretation, etc. (OCoLC)fst01411635
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| ISBN |
0521664969 |
|
9780521664967 |
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