ソフォニズバ・アングィッソーラ研究 : 一六世紀イタリア女性肖像画の諸問題

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che ad un'altra e per questo n'ha avuto piu amore, ed il maggior amore la natura lo ha piu disposto a quella tal

lo ha fatto piu diligente; e tutto I'amore ch'e posto a una parte manca al tutto, perche s'e unito tutto il suo diletto in quella cosa sola, abbandonando I'universale pel particolare.)

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(･･■appresso i Greci vi era un edito che soli i nobili usassero la pittura, tanto e lontano il pensare che permettessero a huomini plebei et vili il farsi ritrahere dal naturale; anci questo assolutamente era riservato solamente a' Principi et

Savi. Cosi appresso Romani altre statove non si veggono che di Consoli valorosi, d'lmperatori et simili a1 Principi, o almeno d'huomini pregiati et singolari in qualche parte, come di donne o giovani belli, onde si vede la Statova d'Antinoo, bellissimo giovane fra tutti gl'altri che furono amati da Traiano, o d'huomini forti come d'Hercole et di Milone Crotoniate. Per il che comprendiamo in quanto pregio fosse tenuta da tutti i popoli quest'arte del ritrahere dal naturale, massime perche non era se non da eccellenti pittori, scultori et incavatori essercitata, ancora che a' tempi nostri si

Et se bene questo abuso, almeno

appreso agl'intendenti, non ha scemato in parte alcuna il pregio a questa arte, ne macchiato punto la sua candidezza, non e pero che non habbia apportato qualche danno in questo, che 'I giudicio in parte si viene a confundere, talche a pena

vuole et inseana I'arte: perche doppo che e entrato questo abuso, se alcuno vuole far un ritratto con quelle raaioni non da pochissimi concesso et e astretto posporre le regole e precetti dell'arte al capricio di chi ritrahe. Per questa cagione di rado il buon pittore esprime il suo concetto, senza cui non e possibile che alcuna buona cosa riesca, tanto piu a' pittori goffi et materiali, si che invece di ritratti si veggono come a dire metamorfosi.)

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Cot-Representations of ' Myself with a Paintbrush' and 'Art of Painting'

On Self-images of Sofonisba Anguissola and the Italian

Humanism

of Sixteenth Century

painter who represents not only the as "myself with a paintbrush painter

woman Italian i This paper discusses the self-portraits of Sofonisba Anguissola, a Cremonese

Renaissance "virtuosa" women but also iconographically new self-images of the

in the humanism era. Sofonisba and her father Amilcare feature the image of a new virgin-lady painter with a paintbrush and an easel, as the Roman goddess of silence Lara, who is interpreted as the symbol of art of painting, and the Roman painter Martia, who has been discussed by Boccaccio. This paper argues the ways in which many copies of Sofonisba s self-image with a paintbrush indicate that her self-image was seen and wished for almost as a symbolic figure of the art of painting.

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Vol. 62, No. 1 (Mar., 1980), pp. 97-112. Mary D. Garrard, "Artemisia Gentileschi's Self-Portrait as the Allegory of Painting," in The Art

Cesare Ripa, Jconologia overo Descrittione deU'Imagini universali, Roma: gli Heredi di Gio. Gigliotti, 1593, pp. 210-212.

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1568,

pp.

399-405

(Vita

di

Madonna Properzia de' Rossi), pp. 427-429 (Benedetto Garofalo e Girolamo da Carpi pittori fei raresi e altri lombardini) ; Filippo Baldinucci, Notizie de'professori del disegno da Cimabue in qua, 6 vols, Florence 1681-1728, Parte Seconda Del Secolo Qvarto

Che contiene Ire Decennali, da1 1550 al 1580, Firenze: Piero Matini, 1688, pp. 154-164 (Sofonisba Angosciola, Elena, Lucia, Minerva, Europa ed Annamaria)

7 7 > 74 v V ― lil-llT:Sr#!ip,o

Ilya Sandra Perlingieri,

Sofonisba Anguissola.

The First

Great Woman Artist

of

the Renaissance, New York: Rizzoli, 1992 ; AA.VV., Sofonisba Anguissola e le sue sorelle, Catalogo della mostra a Cremona, Vienna e Washington D.C.( 1994-1995), Milano: Leonardo arte, 1994 ; Orietta Pinessi, Sofonisba Anguissola Un ≪Pi//ore≫ alia

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8 Catherine King, "Looking a Sight: Sixteenth-Century Portraits of Woman Artists," in Zeitschrift fiir Kimstgeschichte, 58 Bd., H. 3, 1995, pp. 381-406, especially p. 388

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10 Germaine Greer, The Obstacle Race, The Fortunes of Women Painters and Their Work, New York, 1979 I Chadwick, Whitney. Women, Art, and Society, London, 1990

n luttiu-f-rco^nx^j ■ <o

12 AA.VV., Sofonisba Anguissola e le sue sorelle, op. cit., 1994, p. 363.

13 Baldassare Castiglione, IILibro del cortigiano, Roma, 1528 ; B ■ ii Xr -f 'J 3r ― ?■> pBSA.h 'i#7jc￨iti―> SH'tI-.SU

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14 Frederika H. Jacobs, Defining the Renaissance Virtuoso; Women Artists and the Language of Art History and Criticism, Cambridge University Press, 1997.

15 Marco Girolamo Vida, Cremonensium Orationes 111 Adversus Papiemes in Controversia

Principatus,

Cremona: Giovanni

Muzio e Bernardino Locheta, 1550, Orazio II, c. 64v

16 Ibid., ed. by Mario A. di Cesare, The game of chess : Marco Girolamo Vicla's Scacchia Lucius, Nieuwkoop, De Graaf, 1975 ￡ i?

17 Antonia Fraser, Regine guerriere, Rizzoli, Milano 1990, p. 196 Harold James Ruthven Murray, // History of Chess{ 1913), ripr., New York, Skyhorse, 2012, p. Ill ￡r#Mo

18 Patricia Simons, "(Check)Mating the Grand Masters: The Gendered, Sexualized Politics of Chess in Renaissance Italy," in Oxford Art Journal, 16 (1993), pp. 59-74.

19 Vasari,

op.

cit.,

1568,

p.427. Philip

Sohn,

"Gendered

Style

ill Italian Art Criticism from Michelangelo to Malvasia," in Renaissance Quarterly, Vol. 48, 1995, pp. 759-808

20 AA. W., Sofonisba Anguissola e le sue sorelle, op. cit., p. 364.

21 Raffaella Morselli (a cura di), La Celeste Galleria Gonzaga, le raccorte, Milano, 2002, p. 184.

22 5 >rvW

x.uhyy?

4 V V-yXMcofW,

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§) i^VmLtzo Charles

De Tolnay,

"Sofonisba

Anguissola

and Her Relations with Michelangelo," in The Journal of the Walters Art Gallery 4 , 1941, pp. 115-19

23 Annibale Caro, De lettere familiari del commendatore Amiibal Caro, Volume Secondo, Venezia: Aldo Manutio, 1575, p. 164-166.

24 Mary D. Garrard, op. cit., p. 99-104.

, in AA. VV., Rime di diversi autori eccellentissimi, Cremona:

25 (Alia S. Sophonisba Anguisciola.

Traiano Dordoni.

Vincenzo Conti, 1560. tzii Sofonisbct Anguissola e le sue sorelle, op. cit., 1994, p. 403 (ClRJSfclto 26 m%m §l ±> WMJK, g'SoW, -AA-^pJf'Ro

27 Giovanni Boccaccio, Famous Women (De mulieribus Claris), laten text ed. and trans, by V. Brown, Cambridge: Harvard University Press, 2001

28 G. Boccaccio,

op. cit.,

pp. 274-277. Y=-T(D

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30 Giuseppe Betussi, Libro di M. Gio. Boccaccio delle donne illustri, Vinezia 1545-1547 ; Ibid., Genealogia deorum gentilium di Messer Giovanni Boccaccio..., tradottoper Messer Giuseppe Betussi, Venezia: al segno del Pozzo [Andrea Arrivabene], stampato

per Comino daTrino di Monferrato,

1547. feOtliy 7 IZmR"t&o

31 Baldinucci, op. cit., p. 156

32 ^<7)fFPI(cov^TI ± , MaryD. Garrard, "Here's Looking at Me: Sofonisba Anguissola and the Problem of the Woman Artist," in Renaissance Quarterly 47, 1994, p. 556-622

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