Warum zeigt Dürer im Münchner Selbstporträt mit seiner Hand auf den Marderpelz? Auf der Suche nach einer Antwort auf diese Frage geht die vorliegende Untersuchung der Bedeutung der Kleidung in Dürers Selbstdarstellung nach. Der Blick auf... more
Warum zeigt Dürer im Münchner Selbstporträt mit seiner Hand auf den Marderpelz? Auf der Suche nach einer Antwort auf diese Frage geht die vorliegende Untersuchung der Bedeutung der Kleidung in Dürers Selbstdarstellung nach. Der Blick auf weitere Bildzeugnisse der Epoche sowie zeitgenössische Schriftquellen wie Kleidervorschriften und Luxusgesetze eröffnet eine neue Sichtweise auf das berühmte Gemälde. Die Analyse des Bildes unter Heranziehung der Kleiderforschung führt nicht nur zu einer neuen Datierung des Selbstporträts, sondern auch zu einer innovativen Deutung im Kontext rechtshistorischer Zusammenhänge. Ein methodischer Ausblick auf eine Kunstgeschichte, welche die Kulturgeschichte der Kleidung als visuelles System der Zeichen und Symbole einbezieht, rundet den Band ab.
WONDER WOMEN: SOFONISBA ANGUISSOLA, LAVINIA FONTANA AND ARTEMISIA GENTILESCHI A CRITICAL ANALYSIS OF RENAISSANCE AND BAROQUE SELF-PORTRAIT PAINTING BY FEMALE ARTISTS by Rosa Lena Reed Robinson Submitted in partial fulfillment of the... more
WONDER WOMEN: SOFONISBA ANGUISSOLA, LAVINIA FONTANA AND ARTEMISIA GENTILESCHI A CRITICAL ANALYSIS OF RENAISSANCE AND BAROQUE SELF-PORTRAIT PAINTING BY FEMALE ARTISTS
by Rosa Lena Reed Robinson
Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Art History at Studio Art Centers International Florence, Italy
2017
This thesis is focused on the self-portrait painting practice by three female artists from the Renaissance and the Baroque periods: Sofonisba Anguissola, Lavinia Fontana, and Artemisia Gentileschi. Chapter I introduces the self-portrait as it developed specific to the Renaissance and in relation to a Greco-Roman classical ideal. The chapter focuses on Renaissance concepts of art and the very role of the artist. Chapter II studies the numerous self-portraits of Sofonisba Anguissola, the first great Renaissance female artist to have an international career. The artist’s self-portraits both became a foundation for those of later female artists and self-consciously expressed the new elite status achieved by this Lombard artist of noble lineage who worked as court portraitist for the Spanish monarchy. Chapter III examines the self-portraits and innovative identity self-portraiture of Lavinia Fontana of Bologna. It is demonstrated how her two early self-portraits built on the precedent established by Sofonisba, and yet, are of somewhat greater iconographic complexity. While in her maturity the artist developed self-portraiture into the identity self-portrait through the subject of Judith and Holofernes. Within her treatments of the theme in some examples she put herself into the figure of Judith and in others into Judith’s maid Abra. Lavinia Fontana’s final masterpiece, the improbable painting Minerva Dressing done at the end of her extensive career was likewise arguably an identity self-portrait. Minerva Dressing constitutes the first female fully nude figure painted by a female artist. Chapter IV focuses on Artemisia Gentileschi. This thesis designates the artist’s Pommersfelden Susanna and the Elders as both Artemisia’s first exact self-portrait and the first female full-length nude self-portrait painted by a female artist. The work is also an identity self-portrait. This chapter continues with a discussion of both versions of Artemisia’s infamous Judith and Holofernes (Capodimonte/Uffizi). Both works are arguably exact self-portrait paintings and identity self-portraits. Artemisia’s Allegory of Painting in London, often referred to as a self-portrait in scholarship, is suggested a perhaps better understood as an ideal identity self-portrait rather than a literal self-representation. The Allegory of Painting is considered together with other attributed self-portraits and portraits of the artist. A major theme in Chapter IV is the transition from literal self-representation to allegorical and ideal portrayal of the self. This thesis suggests that, as the artist’s career advanced, Artemisia Gentileschi did continue to paint both the exact and the ideal self-portrait. Finally, in the Conclusion, the legacy of the self-portraits of the Wonder Women, to adopt a phrase from Giorgio Vasari, is considered in reference to future female artists such as Elisabetta Sirani, Angelica Kauffmann, Elisabeth Vigée Le-Brun and Paula Modersohn-Becker.
