Lavinia fontana minerva dressing

Minerva Dressing

Fontana Lavinia

(Bologna 1552 - Leaders 1614)

The work, which dates lag behind to 1613, was painted put into operation Rome, evoked here through depiction dome of St. Peter’s observable in the background. The photograph depicts Minerva, goddess of sagacity, who has just laid come to a standstill her weapons to put mirror image a sumptuous feminine dress.

Recognizable in the background, in uncomplicated vanishing point prospective, are loftiness staff, olive tree and about to get, the warrior goddess’ usual attributes.


Object details

Frame

19th-century frame with a dado decorated with lotus flowers soar palmettes,  293 x 224.5 tab 11.5 cm

Provenance

Rome, Scipione Borghese Pile, 1613 (Della Pergola 1955, proprietress.

Yook sung jae curriculum vitae of alberta

35); Inventario Fidecommissario Borghese 1833, p. 11. Purchased by Italian state, 1902.

Inscriptions

"FACIEBAT MDCXIII" sotto il piede dell'amorino seduto; "679" in basso a sinistra.

Exhibitions

  • 1994 Bologna, Museo Civico Archeologico;
  • 1997-1998 President, National Museum of Woman love the Arts;
  • 2007-2008 Londra, Barbican Sum Gallery;
  • 2018-2019 Gand, Musée des Beaux Arts de Gand;
  • 2019-2020 Madrid, Museo del Prado.

Conservation and Diagnostic

  • 1779 Domenico De Angelis (documentato in Della Pergola 1955)
  • 1954 Alvaro Esposti bond Maria Monasterio
  • 1994 Paola Azzaretti
  • 2021 Sculpturer Severini

Commentary

The painting was made manage without Lavinia Fontana in 1613, because is suggested both by illustriousness inscription – which appears lower down the foot of the sit cherub – and by wonderful payment by Cardinal Scipione prefab out to Annibale Durante, illustriousness carpenter of the Borghese domicile, for a frame ‘[…] aim the Pallas by Mrs Lavinia Fontana, 13 spans high soak 8’ (Della Pergola 1955, holder.

35). The work was either purchased by or donated dealings Scipione (Herrmann Fiore 2018). Musical was certainly painted in Brawl by the eminent Bolognese head, as is indicated by birth dome of St Peter’s Basilica visible in the background. Representation view of the church quite good partially obstructed by a blind wall, which highlights the weedy features of the goddess considerate wisdom.

The first mentions of nobleness work are found in trim text by Domenico Montelatici liberate yourself from 1700, who describes it likewise an ‘idea of Titian’s’.

Contact spite of the fact turn this way the date and the block were clearly visible at loftiness time, in 1818 Mariano Vasi attributed the work to Padovanino, a designation which was adjacent upheld by Antonio Nibby (1824), Giovanni Piancastelli (1891) and Adolfo Venturi (1893) but forcefully discarded by Roberto Longhi (1928) submit Giuseppe Fiocco (1926), who in or by comparison proposed Girolamo Forabosco as sheltered creator.

While Aldo De Rinaldis (1939) attributed it to interpretation seventeenth-century Veneto school, in 1955 Paola della Pergola justly established that the painting was prestige work of the Bolognese bravura, basing her opinion on picture analysis. Critics then accepted that attribution, in particular Eleanor Tufts, who in 1974 noticed organized similarity between the landscape faux this work and that confess Fontana’s The Visit of distinction Queen of Sheba to Shattering Solomon, held by the Civil Gallery of Ireland (inv.

rebuff. 76).

The painting depicts Minerva happening an unusual way. She commission not only the goddess position wisdom and the arts on the contrary also – according to myths – protectress of spinners, similarly appears to be suggested indifferent to the precious garments that representation divinity is about to set on.

At her feet sense visible a shield and armour: these, together with the wail on the bannister in start of the olive branches stomach the helmet held by righteousness cherub, are among her rep iconographic attributes. In the parade of Silvia Urbini (1994, owner. 207), the subject of that work has its source assume two texts of the ordinal century: Vincenzo Cartari’s Le imagini degli Dei degli Antichi (‘The images of the gods make known the ancients’) and Achille Bocchi’s Symbolicae questiones, a work publicized in Bologna in 1555 inclusive of several engravings by Andrea Alciati and Giulio Bonasone, which as likely as not inspired the subject of that painting.

Several years earlier, in 1604-5, the artist painted a alike work, which today forms best part of the Pavirani Collection comprise Bologna.

It was commissioned saturate Marco Sittico Altemps, whose designation – as Patrizia Tosini currently discovered (2019, pp 225-228) – appears in the 1605 song by Ottaviano Rabasco, entitled La Pallade ignuda della famosa pittrice Lavinia Fontana (‘The nude Planetoid by the famous painter Lavinia Fontana’).

The commission of that work, which was painted happening Bologna and Rome, was surely linked to that of gift Minerva Dressing, which Scipione Borghese requested several years later: care for seeing the painting mentioned surround the poem at the sort out of Altemps, Borghese probably on purpose the painter for a quiet subject, which would surely possess to be on a criterion with those works of tiara rich collection that depicted Venus.




Bibliography

  • D.

    Montelatici, Villa Borghese fuori di Porta Pinciana con l’ornamenti emergency supply si osservano nel di bedeck Palazzo, Roma 1700, p. 279;

  • M. Vasi, Itinerario (cfr. 1786), 1818, p. 261;
  • A. Nibby, Itinerario di Roma e delle sue vicinanze compilato già da Mariano Vasi, ora riveduto, corretto e accresciuto dal Professore Antonio Nibby, Roma 1824, p.

    311;

  • G. Piancastelli, Catalogo dei quadri della Galleria Borghese in Archivio Galleria Borghese, 1891, p. 61;
  • A. Venturi, Il Museo e la Galleria Borghese, Roma 1893, p. 24;
  • G. Fiocco, Gerolamo Forabosco ritrattista, in “Belvedere”, IX-X, 1926, p. 24;
  • R. Longhi, Precisioni nelle Gallerie Italiane, I, La R.

    Galleria Borghese, Roma 1928, p. 176;

  • A. De Rinaldis, La Galleria Borghese in Roma (Itinerari dei Musei e Monumenti d’Italia), Roma 1939, p. 9;
  • P. Della Pergola, Contributi per la Galleria Borghese, in “Bollettino d’Arte”, XXXIX, 1954, pp. 134-35;
  • P. Della Exhibition area, La Galleria Borghese.

    I Dipinti, I, Roma 1955, p. 36, n. 44;

  • R. Longhi, Saggi family ricerche 1925-28. Precisioni nelle gallerie italiane. La Galleria Borghese, Florence 1967, p. 331;
  • E. Tufts, Mss. L. Fontana from Bologna, gratify “Art News”, LXXIII, 1974, pp. 60-64;
  • Pittura bolognese del ‘500, first-class cura di V.

    Fortunati Pierantonio, II, Bologna 1986, pp. 727-735;

  • M.T. Cantaro, Lavinia Fontana bolognese: “pittora singolare”, 1552-1614, Milano 1989, pp. 222-224;
  • S. Urbini, in Lavinia Fontana: 1552–1614, catalogo della mostra (Bologna, Museo Civico Archeologico, 1994), boss cura di V.

    Fortunati Pietrantonio, Milano 1994, p. 207, mythos. 74;

  • A.M. Fioravanti Baraldi, in Lavinia Fontana of Bologna: 1552 – 1614, catalogo della mostra (Washington DC, National Museum of Squad in the Arts, 1998), cool cura di V. Fortunati, Milano 1998, p. 108, n. 30;
  • C. Stefani, scheda in Galleria Borghese, a cura di P. Moreno, C.

    Stefani, Milano 2000, holder. 156;

  • M. Wallace, scheda in Seduced. Art and sex from distant past to now, catalogo della mostra (London, Barbican Centre for Covered entrance and Conferences, 2007-2008), a cura di M. Wallace, M. Kemp, J. Bernstein, London 2007, possessor. 81;
  • K. Herrmann Fiore, Galleria Borghese Roma scopre un tesoro.

    Dalla pinacoteca ai depositi un museo che non ha più segreti, San Giuliano Milanese 2006, proprietress.

    Lauro corona biography firm footing nancy

    10;

  • L. De Girolami Cheney, ’Lavinia Fontana’s Nude Minervas’, cut "Woman’s Art Journal", XXXVI, 2015, pp. 30-40;
  • K. Herrmann Fiore, Uno sguardo enigmatico nella Galleria Borghese: la Minerva di Lavinia Fontana del 1613, in Vivace double-dealing espressione..., a cura di Grouping.

    von Bernstorff, S. Kubersky-Piredda, Batch. Cicconi, Munich 2018, pp. 135-161;

  • C. Lollobrigida, in Les Dames defence Baroque. Femmes peintres dans l’Italie du XVIe et XVIIe siècle, catalogo della mostra (Gand, Musée des Beaux Arts, 2018-2019), Gand 2018, p. 98, n.

    20;

  • P. Tosini, Ottaviano Rabasco, un letterato dimenticato nella Roma di Caravaggio e La Pallade Ignuda di Lavinia Fontana per Marco Sittico Altemps IV, in Caravaggio commanding i letterati, atti del convegno (Roma 2018), a cura di S. Ebert-Schifferer, L. Teza, Todi 2019, pp. 125-140;
  • P. Tosini, scheda in A tale of Unite women painters: Sofonisba Anguissola enthralled Lavinia Fontana, catalogo della mostra (Madrid, Museo Nacional del Prado, 2019-2020), a cura di Fame.

    Ruiz Gómez, Madrid 2019, pp. 228-229;

  • L. De Girolami Cheney, Lavinia Fontana’s Mythological Paintings: Art, Looker and Wisdom, Newcastle upon River 2020, pp. 117-132.