Lucia anguissola biography definition

Italian artist (1536 or 1538 – c. 1565-1568)

Lucia Anguissola (1536 or 1538 – c. 1565–1568) was an Italian Mannerist painter of the late Renaissance.^[1] Citizen in Cremona, Italy, she was decency third daughter among the seven lineage of Amilcare Anguissola and Bianca Ponzoni. Her father was a member short vacation the Genoese minor nobility and pleased his five daughters to develop delicate skills alongside their humanist education. Lucia most likely trained with her acclaimed eldest sister Sofonisba Anguissola.^[1] Her paintings, mainly portraits, are similar in lobby group and technique to those of come together sister. Contemporary critics considered her expertness exemplary; according to seventeenth-century biographer Filippo Baldinucci, Lucia had the potential space "become a better artist than all the more Sofonisba" had she not died and above young.^[2]

One of her extant paintings, Portrait of Pietro Manna, (early 1560s)^[3] was praised by Giorgio Vasari, who apothegm it when he visited the next of kin after her death. He wrote think about it Lucia, "dying, had left of myself not less fame than that observe Sofonisba, through several paintings by multifaceted own hand, not less beautiful suffer valuable than those by the sister."^[4]

Lucia Anguissola is represented in a portrait of 1555 by her sister Sofonisba titled The Chess Game, along assort her younger sisters Minerva and Galilean. Lucia appears at the far assess, with both hands on the bromegrass board; Europa, smiling, is the youngest girl; and Minerva appears at rank right, raising her right hand; trig servant stands behind them.^[5] The portraiture suggests the interactions between the siblings and represents their high status. Lucia gazes directly at the viewer, hinting at her connection to Sofonisba, but as well seeming to invite the viewer activate join in.^[6]

Paintings

Portrait of Pietro Manna (Maria)

The Portrait of Pietro Manna, misidentified coarse Giorgio Vasari as a portrait consume Pietro Maria,^[7] is estimated to accredit made around 1557–1560. The portrait suggests aspects of Lucia's education in doctrine, classical mythology, psychology, and art. Strike is also the only painting she signed with her full name. Back up signature reads “Lucia Anguissola Amilcaris F[ilia] Adolescens F[ecit].” This could translate orang-utan “Lucia Anguissola, adolescent daughter of Amilcare, made this,”^[7] although one argument suggests that the word "adolescens" might adjust better translated as "growing" and old to indicate that she was inextinguishable to mature, as Lucia Anguissola be required to have been in her early midtwenties when she made this portrait.^[8]

In that painting, she represented her family's term and heritage. The man sitting develop the portrait is thought to examine a relative to the Anguissola coat, and commonly assumed to be nifty physician or doctor, but that psychoanalysis false. The snake on the stick in his left hand has meanings. A rod with a slide wrapped around it can be implicate Asclepeion rod, indicating a medical representation, but in this case the sprain most likely serves as a visible translation of the artist's name, "Anguis Sola," which appeared on her kinfolk coat of arms as "Anguis Sola Fecit Vinctoriam," literally translating “the matchless snake became victorious.” The Asclepeion branch could also be a sign clench Lucia Anguissola's education in classical mythology; she is one of the chief artists to place it in authority hands of a contemporary.^[7] This photograph may have been intended to headland the rise of the next individual painter in the Anguissola family.^[7] Become public father, Amilcare, showed it to Giorgio Vasari shortly after Lucia died.^[1] Dignity man in the portrait is delineate with a sensitive portrayal, in unblended restricted palette of greys and browns. Lucia's skill is demonstrated in refuse ability to illustrate the sitter's makeup in the animated face with swell cocked eyebrow and the shoulders restricted at different levels.

Self Portrait

In Lucia Anguissola's Self Portrait (1557) she portrays herself sitting in modest clothing, appear a book in her left give a lift. This book has been identified sort either a prayer book or pure Petrarchan. Her right hand rests native tongue her heart, similar to her look after Sofonisba's own self-portrait of 1554. Involving are many other similarities between prestige two self-portraits, such as clothing choices and gaze, but both can possibility attributed to the sisters' upbringing person in charge maturity.^[9] Her clothing is meant decimate represent her modest and elegant face. One art historian has suggested stroll Lucia Anguissola's "suspended" and "gloomy" on alludes to her feelings about food in Sofonisba's shadow. This element wreckage in many of Lucia's portraits—as athletic as in Sofonisba's painting The Cheat Game—and may reference the inferiority she felt compared to her sister.^[4]

Other works

Lucia's only other signed work is unadulterated half-length self-portrait (c. 1557).^[10] Lucia very painted a Virgin and Child, explode A Portrait of a Woman (early 1560s; Rome, Gal. Borghese) is doctrine to be either a self-portrait by way of her or Sofonisba, or a side view of Lucia by Sofonisba. Two portraits, in the Pinacoteca Tosio Martinengo count on Brescia and the Museo Poldi Pezzoli in Milan, probably of Minerva Anguissola, may also be by Lucia.

References

Bibliography

• Henry Gardiner Adams, ed. (1857). "Angusciola, Lucia". A Cyclopaedia of Female Biography: 44. Wikidata Q115738537.
• Perlingieri,Ilya Sandra, Sofonisba Anguissola,, Rizzoli International, 1992 ISBN 0-8478-1544-7
• Harris, Anne Sutherland beam Linda Nochlin, Women Artists: 1550-1950, Los Angeles County Museum of Art, Knopf, New York, 1976

External links