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A ground-breaking artist of her time, late sixteenth-century Bolognese artist Fontana is widely considered to be the first woman artist to achieve professional success beyond the confines of a court or a convent. Fontana was the first woman to manage her own workshop, and the first woman to paint public altarpieces and female nudes. She maintained an active career, painting for many illustrious patrons, while also taking on the role of wife and mother. Exploring Fontana's extraordinary life through her paintings and drawings, the exhibition will offer insight into the cultural climate that enabled her to flourish as a female artist of the period. This will be the first monographic exhibition to examine Fontana's work in over two decades, and the first to focus on her portraits. It will bring together a selection of her most highly regarded works from international public and private collections, alongside the artist's celebrated The Visit of the Queen of Sheba to King Solomon, from the Gallery's own collection.

Painting --- Bologna, school van --- Fontana, Lavinia --- kunst --- schilderkunst --- renaissance --- Italië --- 75.071 FONTANA --- Fontana Lavinia --- zestiende eeuw --- zeventiende eeuw --- portretschilderkunst --- portretten --- religieuze schilderkunst --- kunst en religie --- honden --- dieren --- Fontana, Lavinia, --- Women painters

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Examines sixty-eight women artists in early modern Bologna, revealing how they obtained public commissions and expanded beyond the portrait subjects to which women were traditionally confined. Uses new methodological models for considering gender and art in early modern Italy. This groundbreaking book seeks to explain why women artists were far more numerous, diverse, and successful in early modern Bologna than elsewhere in Italy. They worked as painters, sculptors, printmakers, and embroiderers; many obtained public commissions and expanded beyond the portrait subjects to which women were traditionally confined. Babette Bohn asks why that was the case in this particular place and at this particular time. Drawing on extensive archival research, Bohn investigates an astonishing sixty-eight women artists, including Elisabetta Sirani and Lavinia Fontana. The book identifies and explores the factors that facilitated their success, including local biographers who celebrated women artists in new ways, an unusually diverse system of artistic patronage that included citizens from all classes, the impact of Bologna’s venerable university, an abundance of women writers, and the frequency of self-portraits and signed paintings by many women artists. In tracing the evolution of Bologna’s female artists from nun-painters to working professionals, Bohn proposes new attributions and interpretations of their works, some of which are reproduced here for the first time. Featuring original methodological models, innovative and historically grounded insights, and new documentation, this book will be a crucial resource for art historians, historians, and women’s studies scholars and students.

Women artists --- Art, Italian --- Italian art --- Bamboccianti (Group of artists) --- Corrente (Group of artists) --- Cracking Art (Group of artists) --- Fronte nuovo delle arti (Group of artists) --- Geometria e ricerca (Group of artists) --- Girasole (Group of artists) --- Gruppo 1 (Group of artists) --- Gruppo Aniconismo dialettico (Group of artists) --- Gruppo di Como (Group of artists) --- Gruppo di Scicli (Group of artists) --- Gruppo Enne (Group of artists) --- Gruppo Forma uno (Group of artists) --- Italiens de Paris (Group of artists) --- Mutus Liber (Group of artists) --- Novecento italiano (Group of artists) --- Nuovi-nuovi (Group of artists) --- Origine (Group of artists) --- Sei pittori di Torino (Group of artists) --- Transvisionismo (Group of artists) --- Artists, Women --- Women as artists --- Artists --- History --- Art --- patronage --- anno 1500-1799 --- Bologna --- Art, Italian. --- Women artists. --- Italy --- art history --- vrouwelijke kunstenaar --- Bologna, school van