Portrait Group with the Artist’s Father Amilcare Anguissola and her siblings Minerva and Astrubale

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Sofonisba Anguissola (Italian, 1532-1625)

Portrætgruppe med kunstnerens fader Amilcare Anguissola og hendes søskende Minerva og Astrubale, ca. 1559
Olie på lærred, 157 x 122 cm.

Følsomhed, varme og gensidig omsorg præger dette familieportræt, der forestiller kunstnerens far, Amilcare, broderen, Astrubale og søsteren Minerva. Den familiemæssige relation vægtes højere end det repræsentative og formelle, og den hvide puddel har et godmodigt og næsten humoristisk udtryk. Der fandtes kun få kvindelige malere i renæssancen, fordi kvindens stilling i samfundet generelt umuliggjorde, at kvinder arbejdede som udøvende kunstnere. Sofonisba fik imidlertid opbakning af faderen til at fortsætte sin kunstnergerning. Maleriet blev aldrig malet færdigt, fordi Kong Filip II af Spanien tilbød Sofonisba en stilling som maler ved sit hof, og hun måtte rejse med ganske kort varsel. Maleriet betragtes som et af kunstnerens hovedværker.

Sofonisba mestrede særligt portrætgenren, som hun praktiserede under indflydelse fra blandt andet den mellemitalienske skole, repræsenteret ved en kunstner som Correggio. Samtidig var hun modtagelig for de nye realistiske tendenser i Lombardiet. Som ung havde hun en brevkorrespondance med Michelangelo, der anerkendte den unge kvindes talent og påtog sig rollen som en slags langdistancelærer. Sofonisba arbejdede tyve år ved det spanske hof og blev gennem sit liv gift to gange, første gang da hun var midaldrende, hvilket vidner om et for datiden meget usædvanligt kvindeliv. Hun stiftede og drev en maleskole og fortsatte hele sit lange liv med selv at male. Det spontant udtryksfulde og øjebliksbetonede i en række af hendes portrætter inspirerede senere blandt andre en kunstner som Caravaggio.


Portrait group with the artist's father Amilcare Anguissola and her siblings Minerva and Astrubale, c. 1559
Oil on canvas, 157 x 122 cm.9 cm.

Sensitivity, warmth and mutual concern characterize this family portrait, it represents the artist's father, Amilcare, Brother Astrubale and Sister Minerva. The family ties were weighted higher than the representative and formal and the white poodle has a good-natured and almost humorous expression. There were only a few female artists during the Renaissance because women's position in society generally made it impossible for women to be artists of the profession. Sofonisba, however, received support from the father to continue his artistic career. The painting was never finished, because King Philip II of Spain offered Sofonisba a painter at her court and she had to travel with very short notice. The painting is considered to be one of the artist's great works.

Sofonisba, in particular, mastered portraits, which she practiced under the influence of, inter alia, Middle Italian school, represented by an artist like Correggio. At the same time, she was receptive to new realistic trends in Lombardy. As a youngster, she had a correspondence with Michelangelo, who appreciated the young woman's talent and assumed the role of a sort of distance teacher. Sofonisba worked for twenty years at the Spanish court and was married twice in her life, her first marriage was concluded when she was middle-aged, which testifies to a very unusual female life for that time. She founded and ran an art school and continued painting throughout her entire life. The spontaneous expressive and momentous emphasis on a number of her portraits inspired later, among other things, an artist like Caravaggio.

Details

The prints are individually crafted in heavy duty 280 gram Museum Quality Art Print paper.

Ordered framed the artwork is custom mount, cut perfectly to your image
Delivered fully strung, ready for hanging

Created from high-quality wood, milled with simple clean lines and presented with a satin finish.
This frame has a square profile measuring 20mm (front face) by 23mm (depth from wall).

Available in black or natural.