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361:, Gian Paolo Zappi, (alternate spellings include Giovan and Fappi), one of her father’s pupils, in June 1577. Unusual for the time, their marriage contract specified that she would continue her career and would not be responsible for housekeeping. Instead of offering a dowry as would have been widely accepted in this time, Fontana painted to earn an income. The couple moved into Prospero's house in Bologna and Lavinia added Zappi to her signature. She gave birth to 11 children, though only 3 outlived her: Flaminio, Orazio, and Prospero. Zappi took care of the household and served as an agent and painting assistant to his wife, including painting minor elements of paintings such as draperies. Fontana attended classes at the
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indicate that
Fontana used live nude models. Caroline P. Murphy argues that while body parts are well rendered, the figures as a whole are disproportionate, similar to Prospero's rendering of human anatomy. Additionally, Murphy points out that during Fontana's lifetime, it was socially unacceptable for women to be exposed to nudity; if it was discovered that she used live nude models, her reputation would be tarnished. Murphy suggests that, like
350:. Being the daughter of a painter allowed Fontana to become an artist in a time where female artists were not widely accepted, and Bolognese society at large was supportive of Fontana's artistic career, providing opportunities and connections that were not available to women in other locales. She began her commercial practice by painting small devotional paintings on copper, which had popular appeal as papal and
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a way. It has been said that
Fontana's depictions of mythology may be the first involvement of a female artist in the genre. Fontana "excelled in composing a new theme for female painters of her time to follow, that is, the depiction of mythological subjects, in particular the portrayal of nude female figures, as seen in her nude Minervas and Venuses. Fontana’s new genre paved the way for
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276:. She is regarded as the first female career artist in Western Europe, as she relied on commissions for her income. Her family relied on her career as a painter, and her husband served as her agent and raised their 11 children. She was perhaps the first female artist to paint female nudes, but this is a topic of controversy among art historians.
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Fontana's mythology paintings with nude figures are being increasingly studied by art historians. Roman gods such as
Minerva, Mars, and Venus are depicted in various forms of undress in these paintings. There is little or no evidence that contemporary women artists depicted nude figures in such
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Along with portraits, Fontana created a substantial number of extensive altar pieces, and it is believed that she may be one of the first female painters to have done this. Fontana followed
Paleotti’s Counter-Reformation principles in art theory. In 1593, Cardinal Gabriele Paleotti commissioned the
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In the 1580s, she gained renown as a portraitist of
Bolognese noblewomen, who competed for her services. The high demand for portraits painted by Fontana was reflected in the large sums of money she earned during this period. Her relationships with female clients were often unusually warm; multiple
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The
Counter-Reformation and the Council of Trent's recommendations for religious art defined Fontana's treatment of subjects and themes in her paintings. Excellent status as a daughter, wife, and mother was a prerequisite to her career due to the moral standards of the day. Demand for portraits of
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Among art historians, there is a controversy regarding the means and models used by
Fontanta to depict male and female nudes in her paintings. Fontana had studied her father's collection of sculptures and paster casts, but Liana De Girolami Cheney argues that the naturalism of the figures may
571:
is considered to be her masterpiece. It was painted as a betrothal gift to the Zappi family as evidenced by the Latin inscription in which
Fontana describes herself as a virgin and states that she painted while looking at herself in a mirror, a testament to the accuracy of the depiction.
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Over 100 works by
Fontana are documented, but only 32 signed and dated works are known today. Twenty-five more works have been attributed to her, making hers the largest oeuvre for any female artist prior to 1700. Some of her portraits were once wrongly attributed to her contemporary
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Fontana also produced paintings on mythological allegorical themes, sometimes "highly sensuous paintings with female nude figures—an unheard-of and risky venture which to date no female artist had permitted herself to attempt. Her last painting,
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is noticeable in
Fontana's close attention to detail in her paintings and the significance of the materials surrounding the subject. Her close attention to detail displayed the wealth of the sitter, which made her popular among the rich.
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in 1593 at the church of San Francesco Oltre Reno at Pieve di Cento, which was commissioned by the Bentivoglio family and placed in the family chapel. Fontana was also commissioned for works by two popes, Gregory XIII and Clement VIII.
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Fontana's self-portraiture strikes a balance between presenting the artist as a distinguished lady and as a professional artist. This depiction of two coexisting roles was common for sixteenth-century women artists.
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472:. According to Jean Owens Schaefer, the reverse side of the medal depicts Pittura, an allegorical figure representing painting. He also posits that this is the first visual rendition of
665:, Fontana had family members model for her. Linda Nochlin writes that art academies barred women from viewing any nude body, despite this being a crucial part of an artist's training.
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and served as her teacher. Caroline P. Murphy suspects that financial issues may have prompted Prospero to train Lavinia as a painter. She later studied under the Netherlandish artist
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614:(Considerations on Painting). The naturalism of her paintings is highly praised and the beauty of her paintings is linked to her own physical attractiveness.
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272:. She is best known for her successful portraiture, but also worked in the genres of mythology and religious painting. She was trained by her father,
2399:
Murphy, Caroline P. (1996). "Lavinia Fontana and 'Le Dame della Citta': understanding female artistic patronage in late sixteenth-century Bologna."
1642:
Murphy, Caroline P. (1996). "Lavinia Fontana and "Le Dame della Città": understanding female artistic patronage in late sixteenth-century Bologna".
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Murphy, Caroline P. (1996). "Lavinia Fontana and 'Le Dame della Citta': understanding female artistic patronage in late sixteenth-century Bologna".
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2513:, a fully digitized exhibition catalog from The Metropolitan Museum of Art Libraries, which contains material on Lavinia Fontana (see index)
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Dabbs, Julia Kathleen (2009). "6: Giulio Mancini (1588 Siena - 1630 Rome) and the Considerazioni sulla pittura (written c. 1614-30)".
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of Rome, and was the recipient of numerous honors, including a bronze portrait medallion cast in 1611 by sculptor and architect
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La Donna e La Maniera Devota:Lavinia Fontana, Sacred Imagery and the Natural Sciences in Sixteenth-Century Bologna
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448:, created by Fontana for the chapel altarpiece of the church of San Pietro in Bologna. Fontana painted another
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297:. Her elder sister Emilia died in 1568 when Lavinia was sixteen. Prospero was a prominent painter of the
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896:
720:
496:
1781:
University of London, University College London (United Kingdom) ProQuest Dissertations Publishing
397:
1971:
Fortunati, Vera (1998). "Lavinia Fontana: A Woman Artist in the Age of the Counter-Reformation".
1937:
Fortunati, Vera (1998). "Lavinia Fontana: A Woman Artist in the Age of the Counter-Reformation".
1515:
Fortunati, Vera (1998). "Lavinia Fontana: A Woman Artist in the Age of the Counter-Reformation".
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920:
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in 1552 to Antonia de' Bonardis and Prospero Fontana. She was baptized on 24 August 1552, at the
22:
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Fontana has been called "the most significant and prolific female artist of the 16th century."
522:
390:
305:, who had once been a pupil of Prospero and who ran an influential painting school in Bologna.
342:, was painted in 1575 at the age of 23. Though this work is now lost, another early painting,
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574:(Lavinia Virgo Prosperi Fontane/Filia Ex Speculo Imaginem/Oris Sui Expressit Anno/MDLXXVII.)
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518:
514:
331:
1755:
1169:
8:
1866:
Schaefer, Jean Owens (1984). "A Note on the Iconography of a Medal of Lavinia Fontana".
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1891:
1883:
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family and children rose due to the Roman Catholic Church's emphasis on family values.
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The Age of Correggio and the Carracci: Emilian Painting of the 16th and 17th Centuries
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She died in the city of Rome on 11 August 1614, at the age of 61, and was buried at
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2026:"Review of Lavinia Fontana: A Painter and Her Patrons in Sixteenth-Century Bologna"
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1807:
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1842:"Lavinia Fontana Conservation and Research Project | National Gallery of Ireland"
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Fontana's youthful style resembled that of her father, Prospero. As a student of
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607:
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was a member. She was subsequently appointed as Portraitist in Ordinary at the
405:
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116:
2282:
Cheney, Liana De Girolami; Faxon, Alicia Craig; Russo, Kathleen Lucey (2000).
2123:
Cheney, Liana De Girolami; Faxon, Alicia Craig; Russo, Kathleen Lucey (2000).
1996:
Cheney, Liana De Girolami; Faxon, Alicia Craig; Russo, Kathleen Lucey (2000).
1777:"Lavinia Fontana: An artist and her society in late sixteenth-century Bologna"
1702:
Cheney, Liana De Girolami; Faxon, Alicia Craig; Russo, Kathleen Lucey (2000).
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2388:
2274:
Cheney, Liana (Spring-Summer 1984). "Lavinia Fontana, Boston 'Holy Family'".
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Cheney, Liana (Spring–Summer 1984). "Lavinia Fontana, Boston 'Holy Family'".
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226:
2442:
The Devout Hand: Women, Virtue, and Visual Culture in Early Modern Italy
1681:"Lavinia Fontana, 1552-1614, Bolognese Painter by Felice Antonio Casone"
1663:
2424:
Lavinia Fontana: A Painter and Her Patrons in Sixteenth-century Bologna
2200:
Lavinia Fontana: A Painter and Her Patrons in Sixteenth-Century Bologna
2175:
Lavinia Fontana: A Painter and Her Patrons in Sixteenth-Century Bologna
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1827:
1795:
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Lavinia Fontana: A Painter and Her Patrons in Sixteenth-Century Bologna
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Lavinia Fontana: A Painter and Her Patrons in Sixteenth-Century Bologna
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Lavinia Fontana: A Painter and Her Patrons in Sixteenth-Century Bologna
1287:
Lavinia Fontana: A Painter and Her Patrons in Sixteenth-Century Bologna
1143:
Lavinia Fontana: A Painter and Her Patrons in Sixteenth-Century Bologna
580:
2223:
Nochlin, Linda (1988). "Why Have There Been No Great Women Artists?".
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A Tale of Two Women Painters: Sofonisba Anguissola and Lavinia Fontana
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2410:. Vol 1. Delia Gaze, ed. Chicago: Fitzroy Dearborn. pp. 534–7.
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1811:
1543:
495:
Portrait of Bianca degli Utili Maselli and Her Children, c. 1604-5,
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377:, later served as namesakes or godmothers for Fontana's children.
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Part of the Mysteries of the Rosary in the Rosary chapel in the
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Musee des Beaux-Arts, Marseilles, originally the Gnetti Chapel,
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Lavinia Fontana, medal designed by Felice Antonio Casone, 1611,
2497:
1184:
951:
2089:
Cheney, Liana De Girolami. "Lavinia Fontana's Nude Minervas".
1196:
Weidemann, Christiane; Larass, Petra; Melanie, Klier (2008).
983:
358:
2452:. Washington DC: National Gallery of Art. pp. 132–136.
417:
269:
86:
595:’s depictions of female nudes in the seventeenth century.
308:
1910:"Portrait of Bianca degli Utili Maselli and Her Children"
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women who sat for portraits, such as the Duchess of Sora
2354:
Masterpieces of Italian Painting, The Walters Art Museum
1195:
2350:
Hansen, Morten Steen; Spicer, Joaneath, eds. (2005).
1145:. New Haven, CT: Yale University Press. p. 30.
436:. Fontana thrived in Rome as she had in Bologna and
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2202:. Singapore: Yale University Press. pp. 21–2.
1314:. Singapore: Yale University Press. pp. 20–1.
2351:
2253:
1438:"Art in Short: Lavinia Fontana, Renaissance Woman"
1226:
284:
2466:Italian Women Artists from Renaissance to Baroque
2177:. Singapore: Yale University Press. p. 197.
2518:
2475:"Curator's Travelogue: Women Artists of Bologna"
2447:
2281:
2122:
1995:
1796:"Lavinia Fontana's "Self-Portrait Making Music""
1701:
1594:. Singapore: Yale University Press. p. 76.
1415:. Singapore: Yale University Press. p. 13.
1289:. Singapore: Yale University Press. p. 18.
2406:Murphy, Caroline P. (1997). "Lavinia Fontana".
2227:. New York: Harper & Row. pp. 158–61.
2084:
2082:
2080:
1868:Journal of the Warburg and Courtauld Institutes
1462:M., Bohn, Babette, 1950- Saslow, James (2013).
1361:"Cornell Fine Arts Museum, Collection Overview"
829:The Visit of the Queen of Sheba to King Solomon
525:may have influenced Fontana's artistic career.
1099:Invisible Women: Forgotten Artists of Florence
2464:National Museum of Women in the Arts (2007).
2395:. New York: Los Angeles County Museum of Art.
2386:
1164:
1162:
486:
2448:Smyth, Francis P.; O'Neill, John P. (1986).
2349:
2152:. Burlington, VT: Ashgate. pp. 77, 79.
2077:
1496:: CS1 maint: multiple names: authors list (
1435:
675:Self-Portrait at the Virginal with a Servant
606:. She was the only woman artist featured in
569:Self-Portrait at the Virginal with a Servant
554:Self-Portrait at the Virginal with a Servant
511:style, with strong quasi-Venetian coloring.
1230:(2015). "Lavinia Fontana's nude Minervas".
354:, given the value and lustre of the metal.
2378:: CS1 maint: location missing publisher (
2072:Seeing Ourselves: Women's Self-Portraiture
1500:) CS1 maint: numeric names: authors list (
1465:A companion to Renaissance and Baroque art
1159:
598:Fontana is immortalized as the subject of
464:She was the first female elected into the
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2319:
2019:
2017:
1970:
1936:
1675:
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1514:
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380:
2473:Wasserman, Krystyna (10 November 2011).
2251:
2150:Life Stories of Women Artists, 1550-1800
1865:
641:
548:
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396:
384:
325:
307:
2444:. McGill-Queens University Press, 2017.
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1760:(masters thesis). Concordia University.
257:(24 August 1552–11 August 1614) was an
2519:
2477:. National Museum of Women in the Arts
2322:Lavinia Fontana of Bologna (1552–1614)
2225:Women, Art, and Power and Other Essays
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2014:
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1172:. National Museum of Women in the Arts
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365:, and was listed as one of the city's
344:Christ with the Symbols of the Passion
330:Portrait of a lady with a dog, 1590s,
2147:
1932:
1930:
1770:
1768:
1733:. Taylor & Francis. p. 300.
1386:"Lavinia Fontana: Renaissance Artist"
679:Accademia Nazionale di San Luca, Rome
80:
1973:Lavinia Fontana of Bologna 1552-1614
1939:Lavinia Fontana of Bologna 1552-1614
1726:
1517:Lavinia Fontana of Bologna 1552-1614
1264:. Phaidon Press. 2019. p. 140.
1136:
1134:
1132:
1130:
1026:National Museum of Women in the Arts
822:National Museum of Women in the Arts
697:National Museum of Women in the Arts
2342:Concise Dictionary of Women Artists
1730:Concise Dictionary of Women Artists
13:
2552:17th-century Italian women artists
2542:16th-century Italian women artists
2457:
2301:Findlen, Paula (8 November 2002).
2127:. Singapore: Ashgate. p. 61.
2088:
2024:Cheney, Liana De Girolami (2005).
2000:. Singapore: Ashgate. p. 58.
1927:
1765:
1706:. Singapore: Ashgate. p. 56.
1656:10.1111/j.1477-4658.1996.tb00356.x
1629:10.1111/j.1477-4658.1996.tb00356.x
1566:"Brooklyn Museum: Lavinia Fontana"
1461:
1081:, unknown date, private collection
1064:, unknown date, private collection
1044:Portrait of Bianca Lucia Aliprandi
410:Collegiata di Santa Maria Maggiore
14:
2603:
2490:
1303:
1170:"Artist Profile: Lavinia Fontana"
1127:
461:(1613), was a true masterpiece."
369:(women with doctorates) in 1580.
346:, painted in 1576, is now in the
166:
2510:Orazio and Artemisia Gentileschi
2496:
2468:. Milan: Skira. pp. 134–65.
2403:10 (2). pp. 190–208. JSTOR.
2338:
2284:Self-Portraits by Women Painters
2125:Self-Portraits by Women Painters
1998:Self-Portraits by Women Painters
1704:Self-Portraits by Women Painters
1199:50 Women Artists You Should Know
1069:
1051:
1036:
1014:
990:
962:
936:
911:
791:Portrait of a Lady with Lap Dog,
761:Portrait of Gerolamo Mercuriale,
748:Portrait of the Gozzadini Family
476:'s 1603 description of Pittura.
416:Fontana and her family moved to
244:
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2101:
2064:
1989:
1964:
1955:
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1608:
1583:
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1429:
1404:
1378:
1336:"Portrait of a lady with a dog"
755:Pinacoteca Nazionale di Bologna
741:Pinacoteca Nazionale di Bologna
313:Portrait of Antonietta Gonzales
285:Education and career in Bologna
162:
1328:
1278:
1254:
1220:
845:Fundación Casa de Alba, Madrid
632:
428:of the Buoncompagni, of which
321:Musée des Beaux-Arts de Blois.
1:
2557:Artists from the Papal States
2547:17th-century Italian painters
2537:16th-century Italian painters
2260:. London: Thames and Hudson.
2245:
1975:. Milan: Electa. p. 16.
1941:. Milan: Electa. p. 13.
1794:McIver, Katherine A. (1998).
1110:List of Italian women artists
813:
810:Portrait of Costanza Alidosi,
793:
763:
732:
716:The Dead Christ with Symbols,
688:
668:
420:in 1604 at the invitation of
357:Fontana married the Count of
2582:Italian Renaissance painters
2503:Paintings by Lavinia Fontana
2422:Murphy, Caroline P. (2003).
2198:Murphy, Caroline P. (2003).
2173:Murphy, Caroline P. (2003).
2108:Ruiz, Gomez; Dodman, Jenny.
1519:. Milan: Electa. p. 15.
1411:Murphy, Caroline P. (2003).
1310:Murphy, Caroline P. (2003).
1285:Murphy, Caroline P. (2003).
1141:Murphy, Caroline P. (2003).
1115:Italian Renaissance painting
1022:Portrait of Costanza Alidosi
926:National Gallery of Victoria
629:may have studied under her.
612:Considerazioni sulla pittura
507:, she gradually adopted the
375:Constanza Sforza Boncompagni
289:Lavinia Fontana was born in
279:
7:
2408:Dictionary of Women Artists
1846:National Gallery of Ireland
1590:Murphy, Caroline P (2003).
1390:Smith College Museum of Art
1086:
1061:Samaritan woman at the well
834:National Gallery of Ireland
45:Self-Portrait in the Studio
10:
2608:
2572:Italian Mannerist painters
2252:Chadwick, Whitney (1990).
1046:, 1602, private collection
982:, 1584, Palazzo Comunale,
904:
874:Consecration to the Virgin
487:Artistic influences, style
20:
16:Italian artist (1552–1614)
2577:Italian portrait painters
2426:. Yale University Press.
2387:Harris, Anne Sutherland;
1775:Murphy, Caroline (1996).
1683:. National Gallery of Art
1228:De Girolami Cheney, Liana
685:Portrait of a Noblewoman,
637:
544:
481:Santa Maria sopra Minerva
338:Her earliest known work,
243:
238:
234:
208:
198:
194:
184:
176:
149:
139:
129:
105:
99:Santa Maria sopra Minerva
94:
76:
68:
52:
37:
30:
2393:Women Artists: 1550-1950
2358:. Baltimore and London.
2320:Fortunati, Vera (1998).
1754:Misiuk, Marlene (2018).
1120:
971:Assumption of the Virgin
897:Basilica of San Domenico
891:Coronation of the Virgin
721:Cornell Fine Arts Museum
450:Assumption of the Virgin
446:Assumption of the Virgin
402:Assunzione della Vergine
2567:Female Catholic artists
2303:The Italian Renaissance
2256:Women, Art, and Society
887:Jesus among the Doctors
709:Cleveland Museum of Art
440:was among her sitters.
295:cathedral of San Pietro
23:Lavinia Fontana (horse)
21:For the racehorse, see
2587:Italian women painters
2286:. Singapore: Ashgate.
1570:www.brooklynmuseum.org
1338:. Auckland Art Gallery
729:Newborn Baby in a Crib
723:, Winter Park, Florida
657:
561:
500:
413:
394:
391:British Museum, London
381:Roman period (1603-14)
335:
323:
2592:Painters from Bologna
1783:– via ProQuest.
1078:Judith and Holofernes
999:Wedding Feast at Cana
880:Santa Maria dei Servi
704:Portrait of a Couple,
645:
593:Artemisia Gentileschi
558:Accademia di San Luca
552:
494:
470:Felice Antonio Casoni
466:Accademia di San Luca
400:
388:
363:University of Bologna
348:El Paso Museum of Art
329:
311:
203:Accademia di San Luca
134:University of Bologna
2505:at Wikimedia Commons
2401:Renaissance Studies.
1727:Gaze, Delia (2001).
1202:. Prestel. pp.
1105:Sofonisba Anguissola
1004:J. Paul Getty Museum
866:Santissima Trinità,
663:Sofonisba Anguissola
515:Sofonisba Anguissola
332:Auckland Art Gallery
2276:Woman's Art Journal
2091:Woman's Art Journal
2030:Woman's Art Journal
1800:Woman's Art Journal
1644:Renaissance Studies
1617:Renaissance Studies
1532:Woman's Art Journal
1468:. Wiley-Blackwell.
1262:Great Women Artists
1232:Woman's Art Journal
919:Mystic marriage of
617:Fontana influenced
600:Portrait of a Woman
583:, another pupil of
523:Properzia de' Rossi
340:Child of the Monkey
2070:Frances Borzello,
1631:– via JSTOR.
1436:Molcan, Magnolia.
944:Christ appears to
824:, Washington, D.C.
802:Walters Art Museum
772:Walters Art Museum
699:, Washington, D.C.
658:
623:Alessandro Tiarini
562:
501:
414:
395:
367:Donne addottrinate
336:
324:
264:painter active in
2562:Catholic painters
2501:Media related to
2440:Rocco, Patricia.
2433:978-0-300-09913-3
2324:. Milan: Electa.
2312:978-0-631-22283-5
2293:978-1-85928-424-7
2209:978-0-300-09913-3
2184:978-0-300-09913-3
2134:978-1-85928-424-7
2007:978-1-85928-424-7
1982:978-88-435-6394-4
1948:978-88-435-6394-4
1740:978-1-57958-335-4
1713:978-1-85928-424-7
1601:978-0-300-09913-3
1475:978-1-118-39150-1
1422:978-0-300-09913-3
1392:. 5 December 2019
1321:978-0-300-09913-3
1296:978-0-300-09913-3
1213:978-3-7913-3956-6
1152:978-0-300-09913-3
975:Peter Chrysologus
948:. Noli me tangere
900:
883:
870:
858:
855:Galleria Borghese
850:Minerva Dressing,
846:
836:
825:
805:
787:
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757:
743:
724:
712:
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680:
654:Galleria Borghese
619:Alberto de' Rossi
532:The influence of
505:Ludovico Carracci
430:Pope Gregory XIII
424:. She gained the
422:Pope Clement VIII
299:School of Bologna
252:
251:
217:Pope Gregory XIII
122:Ludovico Carracci
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1018:
1002:, c. 1575–1580,
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499:, San Francisco.
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352:diplomatic gifts
317:Petrus Gonsalvus
274:Prospero Fontana
248:
222:Pope Clement VII
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189:Prospero Fontana
170:
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155:Gian Paolo Zappi
112:Prospero Fontana
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2015:
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995:
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921:Saint Catherine
916:
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862:Birth of Virgin
843:c. 1600-1610 –
841:Mars and Venus,
816:
796:
766:
735:
691:
671:
640:
635:
627:Aurelio Bonelli
547:
497:Legion of Honor
489:
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130:Alma mater
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46:
41:
36:
29:
24:
19:
2509:
2479:. Retrieved
2465:
2449:
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2423:
2407:
2400:
2392:
2353:
2341:
2321:
2302:
2283:
2275:
2255:
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2199:
2193:
2174:
2168:
2149:
2143:
2124:
2118:
2109:
2103:
2094:
2090:
2071:
2066:
2036:(2): 53–55.
2033:
2029:
1997:
1991:
1972:
1966:
1957:
1938:
1917:. Retrieved
1913:
1904:
1871:
1867:
1861:
1849:. Retrieved
1845:
1836:
1803:
1799:
1789:
1780:
1756:
1749:
1729:
1722:
1703:
1697:
1685:. Retrieved
1647:
1643:
1637:
1620:
1616:
1610:
1591:
1585:
1573:. Retrieved
1569:
1560:
1538:(1): 12–15.
1535:
1531:
1525:
1516:
1510:
1464:
1457:
1445:. Retrieved
1441:
1431:
1412:
1406:
1394:. Retrieved
1389:
1380:
1368:. Retrieved
1340:. Retrieved
1330:
1311:
1305:
1286:
1280:
1261:
1256:
1231:
1222:
1198:
1174:. Retrieved
1142:
1097:
1076:
1058:
1043:
1021:
997:
973:with Saints
969:
943:
918:
890:
886:
873:
861:
849:
840:
828:
809:
790:
779:Holy Family,
778:
760:
746:
727:
715:
711:, Cleveland
706:1580–1585 –
703:
684:
674:
659:
646:
616:
611:
599:
597:
589:
577:
573:
568:
566:
563:
553:
539:
531:
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463:
458:
455:
449:
445:
442:
415:
401:
371:
366:
356:
343:
339:
337:
288:
254:
253:
62:Papal States
44:
18:
2532:1614 deaths
2527:1552 births
2097:(2): 30–40.
1370:22 February
1342:30 November
1024:, c. 1595,
1008:Los Angeles
817: 1595
804:, Baltimore
797: 1595
784:El Escorial
774:, Baltimore
767: 1587
736: 1583
692: 1580
633:Controversy
474:Cesare Ripa
438:Pope Paul V
227:Pope Paul V
2521:Categories
2246:References
1806:(1): 3–8.
1650:(2): 194.
1623:(2): 191.
899:, Bologna
669:In museums
602:(1595) by
581:Guido Reni
567:Fontana's
412:, Bologna.
2374:cite book
2305:. Wiley.
2050:0270-7993
1896:195018367
1820:0270-7993
1762:pp. 21-23
1492:cite book
1484:929654491
1248:956553105
1240:0270-7993
930:Melbourne
882:, Bologna
831:, 1599 –
677:, 1577 –
534:Mannerism
426:patronage
280:Biography
262:Mannerist
239:Signature
210:Patron(s)
144:Mannerist
106:Education
2481:29 March
2391:(1976).
2278:. 5 (1).
1687:29 March
1664:24412268
1176:29 March
1087:See also
956:Florence
950:, 1581,
837:, Dublin
769:–1590 –
652:, 1613,
650:Dressing
556:, 1577,
404:, 1593,
319:, 1595,
177:Children
69:Baptised
2058:3598102
1874:: 233.
1851:4 March
1828:1358647
1575:8 March
1552:1357879
1396:9 March
979:Cassian
905:Gallery
868:Bologna
852:1613 –
781:1589 –
752:1584 –
718:1581 –
656:, Rome.
648:Minerva
560:, Rome.
434:Vatican
291:Bologna
266:Bologna
259:Italian
199:Elected
171:
159:
58:Bologna
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