top of page
 Self Portrait with Old Woman c. 1545Breaking with the conventions of stoic emotionless self portraits, this chalk sketch was probably done when the artist was 13 years old, and demonstrates her youthful high spirits. She gestures jokingly at her older companion who seems to be reading her a book, or perhaps just amusing herself. This self portrait is unique because nobody ever displayed emotion or movement in any kind of portrait. The norm was to display quite propriety. |  Self Portrait Aged Sixteen c. 1548Breaking with the conventions of stoic emotionless self portraits, this chalk sketch was probably done when the artist was 13 years old, and demonstrates her youthful high spirits. She gestures jokingly at her older companion who seems to be reading her a book, or perhaps just amusing herself. This self portrait is unique because nobody ever displayed emotion or movement in any kind of portrait. The norm was to display quite propriety. |  Portrait of a Nun 1551The subject is Elena Anguissola, Sofonisba's younger sister. She joined the San Vincenzo monastery after being taught by Bernardino Campi with Sofonisba. The robes of the nun are painted in a soft lily white on a dark green background. The red prayer book in her hand gives a sharp point of contrast to the otherwise simple color scheme. The artist also softens the look of the work with delicate shadows while incorporating an aesthetic geometric solidity. |
|---|---|---|
 Self Portrait 1554This is the first self portrait from an Italian female painter. The book that the artist holds, either a 'petrarchini' of love poems or a prayer book, bears a Latin statement which translates to 'Sophonisba Angussola Virgin made herself'. The fixedness of the artist's gaze suggest that she modeled this self portrait after the work of the virginal Iaia/Martia, who painted herself using a mirror. This work also demonstrates the artist's attention to expression through physiognomic details. |  Asdrubale Bitten by a Crayfish 1554This drawing of her brother is perhaps the best example of Anguissola's mastery of l'arte del disegno (the art of drawing). According to Giorgio Vasari, Michelangelo challenged Sofanisba to make this drawing in response to seeing her drawing of a smiling girl. He wanted her to make something a little more challenging. This drawing is important because it demonstrates Anguissola's awareness of of a formula for depicting physiognomic types, and her inventive physiognomic variety. |  Self Portrait c. 1555This is an oil on copper miniature self portrait. The artist holds a large monogram with an unknown meaning, possibly meant for her family, surrounded by the words: "Sofanisba Anguissola, maiden, painted herself by her own hand in the mirror, Cremona.' Artists often used self-portraits like this as a means of demonstrating their skills to potential customers. |
 Sisters Playing Chess 1555This piece is called A Portrait of the Artist's Sisters Playing Chess. This portrait displays figures in motion as opposed to a static scene. Sofonisba's sister Lucia looks out at the viewer. Minerva raises her hand in surprise at her sister's move. Europa smiles in realization and anticipation at Minerva's reaction. Vasari praises Anguissola's ability to capture 'the motions of the soul' (i moti dell'animo) and 'the airs of the faces' (le arie del viso). |  Painting the Virgin 1556This work is called Self Portrait Painting the Virgin and Child 1556. It demonstrates the artist's versatility and talent. Most female artists were encouraged to focus on portraiture because it was considered a lower form of art due to its similarity of copying. However, drawing religious figures demonstrates imagination and a knowledge of anatomy. Anguissola is demonstrating her ability to rise above societal stereotypes and the fact that she can produce beyond what is expected of her. |  Amilicare, Minerva, Asdrubal 1558This is a portrait of Sofonisba's father Amilcare and her siblings, Minerva and Asdrubal. Giorgio Vasari recognizes this painting as an example of Anguissola's life-giving creativity. Sofonisba's portraits convey a familial intimacy, a daring casualness, and an indisputable directness that make them appear truly alive. Vasari goes so far as to describe them as 'appear[ing] to be breathing'. |
 Bernardino Campi Painting...1558This painting is titled Bernardino Campi Painting Sofansiba Anguissola c. 1558. It is a self portrait in which the artist portrays herself being painted by her teacher Campi. This work is meant to serve as a pedigree or resume for the artist to show that she was trained by a great artist and well educated. The artist displays herself as the object of the gaze and not the maker of the object, in a way, giving Campi the credit he is due as her teacher. A very original piece. |  Self Portrait at the Clavichord 1561This form of self portrait desires to portray the artist's musical talent. This theme of self portrait was one invented by and characteristic of female painters. This particular work shows the artist as being multi-talented, emphasizing with the specific musical talent her status as a gentlewoman. The old woman is probably her tutor and serves as a visual foil to the artist's youth and vibrance. |  Self Portrait 1610This work displays the artist in her seventies. The artist holds a piece of paper bearing the inscription: 'To his Catholic Majesty, I kiss your hand, Anguissola'. This was possibly a gift to the new king of Spain, Phillip III. Anguissola had a good relationship with his recently deceased father and wanted to continue the good will. This work demonstrates that the artist moved beyond simply producing commissioned works, but also used her art for personal expression and social interaction. |
The (Most Awesome) Works of Sofonisba Anguissola
bottom of page