Вестник Санкт-Петербургского уни-верситета. Искусствоведение 14, no. 3 (2024), 2024
С каждым годом тема женского искусства становится все более актуальной: растет интерес как к твор... more С каждым годом тема женского искусства становится все более актуальной: растет интерес как к творчеству художниц в целом, так и к отдельным личностям. Софонисба Ангвиссола — важная фигура для понимания общей проблематики женского творчества XVI в. благодаря множеству документальных свидетельств и довольно большому живописному наследию. В России художница малоизвестна, а информация о ней в отечественных работах в основном носит весьма обобщающий характер и часто содержит неточности и ошибки, что и определяет актуальность исследования. Целью статьи является анализ историографии творчества С. Ангвиссолы, которая позволит определить современное состояние дел в понимании темы, а также выявить проблемы и перспективы, связанные с рассмотрением ее искусства, которое по-разному оценивалось с момента первого упоминания в литературе. Биографы XVI–XVII вв. в основном отзывались о ней в довольно возвышенном тоне. Искусствоведы-знатоки, не умаляя ее мастерства, отмечали, что она слишком много заимствовала у других художников. С расцветом феминистского искусствоведения ракурс взгляда на творчество С. Ангвиссолы изменился в сторону большего восхваления. В современной литературе появляются научные работы, которые демонстрируют новые аспекты и подходы для исследования творчества художницы: фактор художественного образования в ее произведениях, степень влияния разных мастеров, особенности пребывания в Испании, художественная специфика автопортретов. Всестороннее изучение искусства С. Ангвиссолы позволяет не только выявить художественные особенности ее работ, но и рассмотреть социально-культурный контекст, в котором она жила и работала. В условиях развития современного искусствознания, которое отличается значительной популярностью гендерных исследований, взвешенность подхода к биографии и творчеству художницы оказывается необходимым качеством ученого для корректного осмысления ее места в истории искусства.
Every year the women’s art becomes more and more relevant issue: interest to the women’s art in common and to its individual representatives is growing. Sofonisba Anguissola, due to a lot of documentary evidences and a fairly large pictorial heritage, is an important figure for understanding the general problems of female creativity in the 16th century. In Russia, the artist is still little known, and information about her in works is mostly very general and often contains inaccuracies and errors, which determines the relevance of the study. The purpose of this article is to analyze the historiography of S. Anguissola’s work, which would allow to de-fine the current state of affairs in the issue of understanding of the topic, as well as to identify problems and prospects related to the consideration of her art, which has been evaluated in different ways since its first mention in the literature. The 16th and 17th centuries biographers talked about her mostly in a rather high tone. Art connoisseurs, without detracting from her skills, noted that she adopted too much from other artists. With the rise of feminist art studies, the perspective of S. Anguissola’s work has changed towards greater appreciation. In modern literature there are scientific works that demonstrate new aspects and approaches to the study of the artist’s art, such as pedagogical view of her works, the degree of influence of various masters, her staying in Spain, the artistic specificity of self-portraits. Comprehensive study of the S. Anguissola’s art allows not only to identify the artistic features of her works, but also to consider the socio-cultural context in which she lived and worked. In the conditions of the development of modern art history, marked by a growing popularity of gender studies, the balanced approach to the artist biography and to her art is a necessary quality for a scientist to correctly understand her place in the history of art.
Художественное образование и наука. 2023. № 3, 2023
Начиная со второй половины XVI века, количество женщин-художниц и скульпторов постепенно увеличив... more Начиная со второй половины XVI века, количество женщин-художниц и скульпторов постепенно увеличивалось. Их творчество имело исключительное значение уже в силу того, что оно впервые претендовало на успех в своей области, где до этого слава предназначалась исключительно мужчинам. Автопортреты в XVI веке стали чрезвычайно популярным видом художественного творчества среди живописцев, в том числе женщин. В целом практика выставления художниками подписи на картинах не выходила за рамки итальянских традиций. Однако можно предположить, что засвидетельствование своей работы стало важным моментом для женщин того времени, когда все еще был популярен миф, что творить может только мужчина. Автопортреты занимают различное место в творчестве художниц: С. Ангвиссола написала более десятка автопортретов, Л. Фонтана — лишь один. Однако разнообразие портретных образов не отменяет наличия в них общих черт, характерных для работ всех художниц. Цель исследования — определение формальных критериев применительно к итальянским женским автопортретам XVI века. Выявленные критерии позволяют понять, насколько женские автопортреты соответствуют традициям женской портретной живописи своего времени.
Since the second half of the XVIth century, the number of female artists and sculptors gradually increased. Their work was extremely important already because for the first time it claimed success in a field where, until then, the fame had belonged exclusively to men. Self-portraits in the XVIth century became an extremely popular form of artistic creation among painters, including women. In general, the practice of artists putting their signatures on paintings did not go beyond the Italian tradition. However, it can be assumed that witnessing their work was an important moment for women of that time, when the myth that only a man could create was still popular. Self-portraits occupied a different place in the work of female artists: S. Anguissola painted more than a dozen self-portraits, L. Fontana — only one. Yet, the variety of portrait images does not deny the presence of common features characteristic of the work of all artists. The purpose of the study is to define formal criteria for Italian women’s self-portraits of the XVIth century. The revealed criteria allow to understand to what extent women’s selfportraits corresponded to the traditions of female portraiture of their time.
Вестник Санкт-Петербургского уни-верситета. Искусствоведение 14, no. 3 (2024), 2024
С каждым годом тема женского искусства становится все более актуальной: растет интерес как к твор... more С каждым годом тема женского искусства становится все более актуальной: растет интерес как к творчеству художниц в целом, так и к отдельным личностям. Софонисба Ангвиссола — важная фигура для понимания общей проблематики женского творчества XVI в. благодаря множеству документальных свидетельств и довольно большому живописному наследию. В России художница малоизвестна, а информация о ней в отечественных работах в основном носит весьма обобщающий характер и часто содержит неточности и ошибки, что и определяет актуальность исследования. Целью статьи является анализ историографии творчества С. Ангвиссолы, которая позволит определить современное состояние дел в понимании темы, а также выявить проблемы и перспективы, связанные с рассмотрением ее искусства, которое по-разному оценивалось с момента первого упоминания в литературе. Биографы XVI–XVII вв. в основном отзывались о ней в довольно возвышенном тоне. Искусствоведы-знатоки, не умаляя ее мастерства, отмечали, что она слишком много заимствовала у других художников. С расцветом феминистского искусствоведения ракурс взгляда на творчество С. Ангвиссолы изменился в сторону большего восхваления. В современной литературе появляются научные работы, которые демонстрируют новые аспекты и подходы для исследования творчества художницы: фактор художественного образования в ее произведениях, степень влияния разных мастеров, особенности пребывания в Испании, художественная специфика автопортретов. Всестороннее изучение искусства С. Ангвиссолы позволяет не только выявить художественные особенности ее работ, но и рассмотреть социально-культурный контекст, в котором она жила и работала. В условиях развития современного искусствознания, которое отличается значительной популярностью гендерных исследований, взвешенность подхода к биографии и творчеству художницы оказывается необходимым качеством ученого для корректного осмысления ее места в истории искусства.
Every year the women’s art becomes more and more relevant issue: interest to the women’s art in common and to its individual representatives is growing. Sofonisba Anguissola, due to a lot of documentary evidences and a fairly large pictorial heritage, is an important figure for understanding the general problems of female creativity in the 16th century. In Russia, the artist is still little known, and information about her in works is mostly very general and often contains inaccuracies and errors, which determines the relevance of the study. The purpose of this article is to analyze the historiography of S. Anguissola’s work, which would allow to de-fine the current state of affairs in the issue of understanding of the topic, as well as to identify problems and prospects related to the consideration of her art, which has been evaluated in different ways since its first mention in the literature. The 16th and 17th centuries biographers talked about her mostly in a rather high tone. Art connoisseurs, without detracting from her skills, noted that she adopted too much from other artists. With the rise of feminist art studies, the perspective of S. Anguissola’s work has changed towards greater appreciation. In modern literature there are scientific works that demonstrate new aspects and approaches to the study of the artist’s art, such as pedagogical view of her works, the degree of influence of various masters, her staying in Spain, the artistic specificity of self-portraits. Comprehensive study of the S. Anguissola’s art allows not only to identify the artistic features of her works, but also to consider the socio-cultural context in which she lived and worked. In the conditions of the development of modern art history, marked by a growing popularity of gender studies, the balanced approach to the artist biography and to her art is a necessary quality for a scientist to correctly understand her place in the history of art.
Художественное образование и наука. 2023. № 3, 2023
Начиная со второй половины XVI века, количество женщин-художниц и скульпторов постепенно увеличив... more Начиная со второй половины XVI века, количество женщин-художниц и скульпторов постепенно увеличивалось. Их творчество имело исключительное значение уже в силу того, что оно впервые претендовало на успех в своей области, где до этого слава предназначалась исключительно мужчинам. Автопортреты в XVI веке стали чрезвычайно популярным видом художественного творчества среди живописцев, в том числе женщин. В целом практика выставления художниками подписи на картинах не выходила за рамки итальянских традиций. Однако можно предположить, что засвидетельствование своей работы стало важным моментом для женщин того времени, когда все еще был популярен миф, что творить может только мужчина. Автопортреты занимают различное место в творчестве художниц: С. Ангвиссола написала более десятка автопортретов, Л. Фонтана — лишь один. Однако разнообразие портретных образов не отменяет наличия в них общих черт, характерных для работ всех художниц. Цель исследования — определение формальных критериев применительно к итальянским женским автопортретам XVI века. Выявленные критерии позволяют понять, насколько женские автопортреты соответствуют традициям женской портретной живописи своего времени.
Since the second half of the XVIth century, the number of female artists and sculptors gradually increased. Their work was extremely important already because for the first time it claimed success in a field where, until then, the fame had belonged exclusively to men. Self-portraits in the XVIth century became an extremely popular form of artistic creation among painters, including women. In general, the practice of artists putting their signatures on paintings did not go beyond the Italian tradition. However, it can be assumed that witnessing their work was an important moment for women of that time, when the myth that only a man could create was still popular. Self-portraits occupied a different place in the work of female artists: S. Anguissola painted more than a dozen self-portraits, L. Fontana — only one. Yet, the variety of portrait images does not deny the presence of common features characteristic of the work of all artists. The purpose of the study is to define formal criteria for Italian women’s self-portraits of the XVIth century. The revealed criteria allow to understand to what extent women’s selfportraits corresponded to the traditions of female portraiture of their time.
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Every year the women’s art becomes more and more relevant issue: interest to the women’s art in common and to its individual representatives is growing. Sofonisba Anguissola, due to a lot of documentary evidences and a fairly large pictorial heritage, is an important figure for understanding the general problems of female creativity in the 16th century. In Russia, the artist is still little known, and information about her in works is mostly very general and often contains inaccuracies and errors, which determines the relevance of the study. The purpose of this article is to analyze the historiography of S. Anguissola’s work, which would allow to de-fine the current state of affairs in the issue of understanding of the topic, as well as to identify problems and prospects related to the consideration of her art, which has been evaluated in different ways since its first mention in the literature. The 16th and 17th centuries biographers talked about her mostly in a rather high tone. Art connoisseurs, without detracting from her skills, noted that she adopted too much from other artists. With the rise of feminist art studies, the perspective of S. Anguissola’s work has changed towards greater appreciation. In modern literature there are scientific works that demonstrate new aspects and approaches to the study of the artist’s art, such as pedagogical view of her works, the degree of influence of various masters, her staying in Spain, the artistic specificity of self-portraits. Comprehensive study of the S. Anguissola’s art allows not only to identify the artistic features of her works, but also to consider the socio-cultural context in which she lived and worked. In the conditions of the development of modern art history, marked by a growing popularity of gender studies, the balanced approach to the artist biography and to her art is a necessary quality for a scientist to correctly understand her place in the history of art.
Since the second half of the XVIth century, the number of female artists and sculptors gradually increased. Their work was extremely important already because for the first time it claimed success in a field where, until then, the fame had belonged exclusively to men. Self-portraits in the XVIth century became an extremely popular form of artistic creation among painters, including women. In general, the practice of artists putting their signatures on paintings did not go beyond the Italian tradition. However, it can be assumed that witnessing their work was an important moment for women of that time, when the myth that only a man could create was still popular. Self-portraits occupied a different place in the work of female artists: S. Anguissola painted more than a dozen self-portraits, L. Fontana — only one. Yet, the variety of portrait images does not deny the presence of common features characteristic of the work of all artists. The purpose of the study is to define formal criteria for Italian women’s self-portraits of the XVIth century. The revealed criteria allow to understand to what extent women’s selfportraits corresponded to the traditions of female portraiture of their time.
Every year the women’s art becomes more and more relevant issue: interest to the women’s art in common and to its individual representatives is growing. Sofonisba Anguissola, due to a lot of documentary evidences and a fairly large pictorial heritage, is an important figure for understanding the general problems of female creativity in the 16th century. In Russia, the artist is still little known, and information about her in works is mostly very general and often contains inaccuracies and errors, which determines the relevance of the study. The purpose of this article is to analyze the historiography of S. Anguissola’s work, which would allow to de-fine the current state of affairs in the issue of understanding of the topic, as well as to identify problems and prospects related to the consideration of her art, which has been evaluated in different ways since its first mention in the literature. The 16th and 17th centuries biographers talked about her mostly in a rather high tone. Art connoisseurs, without detracting from her skills, noted that she adopted too much from other artists. With the rise of feminist art studies, the perspective of S. Anguissola’s work has changed towards greater appreciation. In modern literature there are scientific works that demonstrate new aspects and approaches to the study of the artist’s art, such as pedagogical view of her works, the degree of influence of various masters, her staying in Spain, the artistic specificity of self-portraits. Comprehensive study of the S. Anguissola’s art allows not only to identify the artistic features of her works, but also to consider the socio-cultural context in which she lived and worked. In the conditions of the development of modern art history, marked by a growing popularity of gender studies, the balanced approach to the artist biography and to her art is a necessary quality for a scientist to correctly understand her place in the history of art.
Since the second half of the XVIth century, the number of female artists and sculptors gradually increased. Their work was extremely important already because for the first time it claimed success in a field where, until then, the fame had belonged exclusively to men. Self-portraits in the XVIth century became an extremely popular form of artistic creation among painters, including women. In general, the practice of artists putting their signatures on paintings did not go beyond the Italian tradition. However, it can be assumed that witnessing their work was an important moment for women of that time, when the myth that only a man could create was still popular. Self-portraits occupied a different place in the work of female artists: S. Anguissola painted more than a dozen self-portraits, L. Fontana — only one. Yet, the variety of portrait images does not deny the presence of common features characteristic of the work of all artists. The purpose of the study is to define formal criteria for Italian women’s self-portraits of the XVIth century. The revealed criteria allow to understand to what extent women’s selfportraits corresponded to the traditions of female portraiture of their time.