Beyond other women seeking careers in art, she flourished in an open-minded city that claimed painter Caterina dei Vigri as patron saint and which had welcomed women to its university since its opening in 1158. Generally speaking, as painters' daughters their learning occurred naturally during their early years, in an informal way, within the walls of their homes. Pick a style below, and copy the text for your bibliography. By the time she reached her thirties, Fontana was respected as a painter of devotional art. In 1611, during Fontana's residence in Rome, sculptor Felice Antonio Cassoni cast a medal to honor her contribution to the arts. (10). The center of life was now in the capital. Her prolific body of work encompasses numerous categories of art, including single and group portraits, church altar art, and narrative and historic scenes. She is regarded as the first female career artist in Western Europe as she relied on commissions for her income. She was remembered more as being a prodigy of nature, a woman painter as skilled as a man painter. Ulisse, because he is in the middle of the painting, commands the most attention, as he should as father of the two young women. Swiss artist who achieved fame and fortune in portraiture and the hitherto male domai…, Leiden, Netherlands A year earlier, Fontana’s firstborn child died, so her bereavement may have partially inspired the painting. But, lucky for her, her father, Prospero Fontana, was a famous art teacher at the School of Bologna and therefore commissioned to great works in in their native city. The Assumption of Ponte Santo, now in the Pinacoteca of Bologna, drew upon Raphael, as well as the innovative ideas of the new Carracci school. She was renowned in Italy as a portrait painter, with her famous works being a Portrait of a Woman and The Gozzadini Family. With her death, the glory of the rest of the family was over, and they all moved back to Imola. During the years of her maternities, Lavinia continued to work hard with great success. She portrayed a number of important people, including Pope Paul V and the Persian ambassador (both portraits have been lost); and she painted small paintings on mythological (rather rare in her work) or historical subjects, like the famous Cleopatra (VII) (Rome, Galleria Spada). Imola: Tipografia P. Galeati, 1940. artistic decrees of the Counter-Reformation. (A unique painter among women … who was at the same level of the most excellent men painters in that profession.). The following commentary by Margaret A. Samu is taken from the 2001 exhibition catalog Divine Mirrors: The Virgin Mary in the Visual Arts (pp. Painted the following year, "Portrait of a Noblewoman" depicts a standing female figure holding a decoratively jeweled marten skin and absently petting a lap dog. They formed a working partnership that supported her career, allowing her to accept a growing number of commissions for baroque portraits, small paintings, and religious art. Art historian Cantaro points out that Lavinia writes in an elegant and cultivated hand. Oil on canvas, 127 × 104.1 cm (50 × 41 in.). In her early period, Lavinia's style is strongly influenced by her father's, but shows as well the influences of Emilian painters, like Correggio or the less famous Lelio Orsi, and the Fontain-bleau school, revisited in a Flemish use of light, and, later, of the Carraccis' naturalism. . Bolognese painter, mainly of portraits and holy scenes, who gave a successful example of Italian painting during the CounterReformation. But, lucky for her, her father, Prospero Fontana, was a famous art teacher at the School of Bologna and therefore commissioned to great works in in their native city. 30 Sep. 2020 . Women's World, edited by Irene Franck and David Brownstone, Harper Perennial, 1995. She is also known for a famous Self-Portrait at the Harpsichord. Both financially and critically successful, Fontana was a representative painter of the Italian mannerist school, earning a reputation for pose, detail, and the use of a delicate palette. Lavinia Fontana, Italian painter of the Mannerist school and one of the most important portraitists in Bologna during the late 16th century. (Artemisia Gentileschi was raped; Elisabetta Sirani died of poison; and many spent their lives wandering in foreign courts.) "Lavinia Fontana—Bologna 1552—Roma 1614." The work contrasts a bevy of over-dressed aristocratic ladies with the simple demeanor of a saint performing a sacred task. It was in such an atmosphere that Prospero Fontana's daughter was to reach her artistic maturity. "Fontana, Lavinia (1552–1614) In 1584, Lavinia Fontana became the first woman to produce an altarpiece on commission. Prospero was also well-positioned within the town's intellectual milieu and was a close friend of the naturalist Ulisse Aldrovandi, who taught at Bologna University. She was trained by her father Prospero Fontana and was active in Bologna and Rome. 30 Sep. 2020 . . In general, portraits provided the only way to capture and preserve people from the oblivion of the death.

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