| Born | ca. 1532 (Cremona) |
| Died | 1625 (Palermo) |
| Nationality | Italy |
| Epochs | Mannerism, Renaissance |
| Genre | portrait, history painting, genre painting, religious art |
| Profession | painter, designer |
| Family | Father: Amilcare Anguissola Mother: Bianca Ponzoni Anguissola Spouse: Orazio Lomellino Sibling: Europa Anguissola, Lucia Anguissola, Minerva Anguissola, Anna Maria Anguissola, Elena Anguissola |
| Teacher | Bernardino Campi, Bernardino Gatti |
| Notable works | Porträt der Schwestern der Künstlerin beim Schachspiel (1555), Portrait Group with the Artist’s Father, Brother and Sister (1559), Selbstbildnis (1554), Self-portrait at the Spinnet (1555), Miniature Self Portrait (Anguissola, Boston) (1556) |
| Museums | Walters Art Museum, Muzeum Narodowe w Warszawie, National Gallery of Ireland |
Around the middle of the 16th century, Amilcare Anguissola, a nobleman from Cremona, did something unusual. He apprenticed two of his daughters to painters, choosing a path the Italian Renaissance did not envisage for daughters of the nobility. The elder, Sofonisba Anguissola, had been born in Cremona around 1532 and was about fourteen when she began her apprenticeship with Bernardino Campi, later continuing with Bernardino Gatti. Women were barred from studying the nude - and thus from the grand history paintings that could not be created without studies of the human body. So she painted what no one could forbid her to paint: herself and her own family.
The best known of these family pictures is “Game of Chess, 1555” at the National Museum in Poznań. Three of her sisters, Lucia, Europa and Minerva, sit at the board with a maid before a broad river landscape; the player on the left moves a piece and looks calmly out of the picture, the middle sister laughs, while the third raises her hand, her mouth half open. Giorgio Vasari saw the painting in her father's house and wrote that the figures lacked nothing but the power of speech. The edge of the chessboard bears the inscription: “Sofonisba Anguissola, virgin, daughter of Amilcare, painted from life her three sisters and a maid, 1555.”
At Meisterdrucke, 75 art prints carry on the name she so confidently inscribed within the picture itself. The Chess Game leads the order rankings by a wide margin, followed by the self-portraits; most of the originals are oil paintings. We share our customers' verdict, for in these pictures the painter is where her art was at home - among her own family.
One of them, “Self portrait at the Easel”, shows her in a dark dress with a white lace collar, holding her brush against a mahlstick; on the easel, a Madonna kissing her child is taking shape. A statement of intent, one might think - the noblewoman at work. Even Michelangelo in Rome was shown one of her drawings, a laughing child, and asked for a weeping one because it was more difficult. Her response was a drawing of her little brother Asdrubale, bitten by a crayfish. In 1562, the sheet was sent to the court in Florence together with a drawing by Michelangelo.
Shortly before her departure for Spain, she painted another family piece: “Portrait of the Artist's Family: Minerva, Amilcare, and Asdrubale, 1559”. The father sits between his children; Asdrubale, dressed in red, places his hand in his father's and looks up at him, Minerva holds a bouquet, and a white dog waits beside them.
In the winter of 1559 to 1560, the Spanish court summoned her. Since there was no official place for a female painter at court, the Italian was appointed as a lady-in-waiting; in reality, she painted and taught the young Queen Elisabeth of Valois to draw. Much of her work from the Madrid years burned with the Alcázar, Madrid's royal palace, in 1734, while surviving paintings were long attributed to the Spanish court painters Coello and Pantoja, until the Prado reassigned a portrait of the queen to her.
After her years at court, she married the Sicilian nobleman Fabrizio Moncada; King Philip II provided the dowry of 12,000 scudi; by 1579, she was a widow. On the sea voyage home, she met the captain and merchant mariner Orazio Lomellino and became his wife in Pisa. Decades in Genoa followed, and finally Palermo; her eyesight began to fail. She died in Palermo in 1625.
A year earlier, on 12 July 1624, the 25-year-old Anthonis van Dyck, the star of the next generation of painters, had visited her. He sketched the nearly blind woman and noted in his sketchbook that her memory and intellect remained keen and that her manner was exceedingly courteous. He gave her age as 96; counting from around 1532, she was just over ninety. The legend was already rounding up.
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| Born | ca. 1532 (Cremona) |
| Died | 1625 (Palermo) |
| Nationality | Italy |
| Epochs | Mannerism, Renaissance |
| Genre | portrait, history painting, genre painting, religious art |
| Profession | painter, designer |
| Family | Father: Amilcare Anguissola Mother: Bianca Ponzoni Anguissola Spouse: Orazio Lomellino Sibling: Europa Anguissola, Lucia Anguissola, Minerva Anguissola, Anna Maria Anguissola, Elena Anguissola |
| Teacher | Bernardino Campi, Bernardino Gatti |
| Notable works | Porträt der Schwestern der Künstlerin beim Schachspiel (1555), Portrait Group with the Artist’s Father, Brother and Sister (1559), Selbstbildnis (1554), Self-portrait at the Spinnet (1555), Miniature Self Portrait (Anguissola, Boston) (1556) |
| Museums | Walters Art Museum, Muzeum Narodowe w Warszawie, National Gallery of Ireland |
Around the middle of the 16th century, Amilcare Anguissola, a nobleman from Cremona, did something unusual. He apprenticed two of his daughters to painters, choosing a path the Italian Renaissance did not envisage for daughters of the nobility. The elder, Sofonisba Anguissola, had been born in Cremona around 1532 and was about fourteen when she began her apprenticeship with Bernardino Campi, later continuing with Bernardino Gatti. Women were barred from studying the nude - and thus from the grand history paintings that could not be created without studies of the human body. So she painted what no one could forbid her to paint: herself and her own family.
The best known of these family pictures is “Game of Chess, 1555” at the National Museum in Poznań. Three of her sisters, Lucia, Europa and Minerva, sit at the board with a maid before a broad river landscape; the player on the left moves a piece and looks calmly out of the picture, the middle sister laughs, while the third raises her hand, her mouth half open. Giorgio Vasari saw the painting in her father's house and wrote that the figures lacked nothing but the power of speech. The edge of the chessboard bears the inscription: “Sofonisba Anguissola, virgin, daughter of Amilcare, painted from life her three sisters and a maid, 1555.”
At Meisterdrucke, 75 art prints carry on the name she so confidently inscribed within the picture itself. The Chess Game leads the order rankings by a wide margin, followed by the self-portraits; most of the originals are oil paintings. We share our customers' verdict, for in these pictures the painter is where her art was at home - among her own family.
One of them, “Self portrait at the Easel”, shows her in a dark dress with a white lace collar, holding her brush against a mahlstick; on the easel, a Madonna kissing her child is taking shape. A statement of intent, one might think - the noblewoman at work. Even Michelangelo in Rome was shown one of her drawings, a laughing child, and asked for a weeping one because it was more difficult. Her response was a drawing of her little brother Asdrubale, bitten by a crayfish. In 1562, the sheet was sent to the court in Florence together with a drawing by Michelangelo.
Shortly before her departure for Spain, she painted another family piece: “Portrait of the Artist's Family: Minerva, Amilcare, and Asdrubale, 1559”. The father sits between his children; Asdrubale, dressed in red, places his hand in his father's and looks up at him, Minerva holds a bouquet, and a white dog waits beside them.
In the winter of 1559 to 1560, the Spanish court summoned her. Since there was no official place for a female painter at court, the Italian was appointed as a lady-in-waiting; in reality, she painted and taught the young Queen Elisabeth of Valois to draw. Much of her work from the Madrid years burned with the Alcázar, Madrid's royal palace, in 1734, while surviving paintings were long attributed to the Spanish court painters Coello and Pantoja, until the Prado reassigned a portrait of the queen to her.
After her years at court, she married the Sicilian nobleman Fabrizio Moncada; King Philip II provided the dowry of 12,000 scudi; by 1579, she was a widow. On the sea voyage home, she met the captain and merchant mariner Orazio Lomellino and became his wife in Pisa. Decades in Genoa followed, and finally Palermo; her eyesight began to fail. She died in Palermo in 1625.
A year earlier, on 12 July 1624, the 25-year-old Anthonis van Dyck, the star of the next generation of painters, had visited her. He sketched the nearly blind woman and noted in his sketchbook that her memory and intellect remained keen and that her manner was exceedingly courteous. He gave her age as 96; counting from around 1532, she was just over ninety. The legend was already rounding up.