Портрет Елены Ангиссола (Саутгемптон)
| Сестра художника Елена в одежде монахини | |
|---|---|
| Елена Ангиссола | |
 | |
| Художник | Sofonisba Anguissola  |
| Year | 1551 |
| Dimensions | 68.5 cm (27.0 in) × 53.3 cm (21.0 in) |
| Location | Southampton City Art Gallery |
| Accession No. | SOTAG : 3 |
| Identifiers | Art UK artwork ID: the-artists-sister-in-the-garb-of-a-nun-16754 |
Портрет Елены Ангиссола (альтернативное название: Портрет сестры художника Елены в одежде монахини ), датированного 1551 году, является одной из самых ранних картин Софонисба Ангиссола . Масляная живопись на холсте, она находится в художественной галерее Саутгемптон -Сити , которая приобрела ее в 1936 году.
Описание
[ редактировать ]На этом портрете изображена монахиня Елена Ангиссола , новичок с именем сестры Минервы. Картина подписана и устарела, но трудно читать :: Софонисба Ангуссола Дева м [...] Тери назад. ТИ Пинксит Мдли . Flavio Caroli завершила надпись, добавив следующую: Monasteri Sancti Agostini . [ 1 ] Елена Ангуиссола была монахиней в монастыре Сант -Агостино, в Мантуи.
The painting demonstrates the ability and expressive force of the painter, and the preference for an expressive physiognomy, typical of cinquecento painting in Lombardy. The attention to psychological expression illustrated here is also present in many other paintings by Sofonisba Anguissola. In The Game of Chess (1555) and Self-Portrait at a Spinet, the painter depicted female ability in playing chess or a musical instrument as an essential part of a young noble woman's education.[2]
The Portrait of Elena Anguissola was in the collection of the Earl of Yaborough, remaining there until 1936, when it was acquired by the museum in Southampton. According to Rossana Sacchi it was at one time attributed to Titian. Only later was it recognised as a work of Sofonisba Anguissola and as of a portrait of her sister Elena.[3][4]
The portrait of the religious woman is done on a dark background. The young nun holds in her hands a tiny book covered with red leather and trimmed with gold. The style of the painting recalls Correggio, Lorenzo Lotto, and Bernardino Gatti. Anguissola lingers on certain details and captures the sweetness, and the intensity of the look and the calmness of the nun to create a silent and contemplative image, built around the almost solid geometries of the nun's costume.[5]
References
[edit]- ^ Caroli 1987, pp. 92–93.
- ^ Italian women, p. 106.
- ^ Sacchi 1994, pp. 186–187.
- ^ For a biography of Elena Anguissola see Gilardi, Anastasia (1994). "Le sorelle di Sofonisba". Sofonisba Anguissola e le Sue Sorelle. Milano: Leonardo arte: 75.
- ^ Italian women, p. 108.
Bibliography
[edit]- Sacchi, Federico (1872), Tip. Ronzi e Signori (ed.), Notizie pittoriche cremonesi, pp. 6–7
- Caroli, Flavio (1987), A. Mondadori (ed.), Sofonisba Anguissola e le sue sorelle, pp. 24–26 and 92–93
- Rodeschini, Maria Cristina (1994). "Pittura a Cremona dal Romanico al Settecento". Sofonisba Anguissola e le Sue Sorelle. Milano: Leonardo arte: 274–275.
- Gregori, Mina (1994). "Sofonisba Anguissola". Sofonisba Anguissola e le Sue Sorelle. Milano: Leonardo arte: 18–19.
- Sacchi, Rossana (1994). "La famiglia Anguissola". Sofonisba Anguissola e le Sue Sorelle. Milano: Leonardo arte: 186–187.
- AA VV, Catalogo della mostra tenuta a Cremona nel 1994, a Vienna e a Washington nel 1995