User:TheZoBird/Miniature Self-Portrait (Anguissola, Boston)

Miniature Self-Portrait is a small oil-on-parchment painting by the Italian artist Sofonisba Anguissola. It was painted around 1556 and mounted on a medal from the same time. (One of her early works can be mentioned?) The choice of format is based on Angussiola's knowledge of the works of the famous miniaturist Giulio Clovio. The painting is held at the Museum of Fine Arts, in Boston.

**mention it was among her first paintings (lessons 35) also amongst the smallest surving examples of Anguissola's self portrait.

**documnetary sources suggest that minarure portraits was one of her specialties (boston)

***note for all the notes moving forward I must reword them to apply to wikipedia's guidelines

Material, description, and function

Material

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Description

The miniature depicts a half-bust self portrait of Sofonisba. She is dressed in an austere everyday dress, with her hair in tresses and gathered around her head. Her hands support a round shield (is it a shield?) with a complex monogram showing the letters ACEILMR. Circling the monogram there is the following inscription, painted in Latin in capital letters. «SOPHONISBA ANGUSSOLA VIR(GO) IPSIUS MANU EX (S)PECULO DEPICTAM CREMONAE».

The portrait is painted with the tip of the brush on a weathered green background. The physiognomy of the face is typical of the self-portraits of Sofonisba Anguissola: wide black eyes, small fleshy lips, and an austere hairstyle and clothing suitable for a woman from a good family who wishes to present herself as a virgin, as well as literate and well educated. The raised collar, in the Venetian style, is left open to allow a glimpse of the white shirt underneath.

Figure is composed in 3/4 view with gaze directed toward viewer (boston).... Portrait is visually and thematicaly similar to her other pportaits in the 1550s with a tightly boned v-neck bodice and a chemise with a high stand-up collar edged in lace (sof. 60) Dressed in mid-sixteenth century fashion. Her hair is parted down the center, braided and wraped around her head (sof. 61)

Function

Increasing popularity of emblems in the 16th century..especially portrait painters because used to attribute thoughts and feelings to the viewers )boston)

In the small dimensions of the cameo, the body of the young woman is hidden behind the monogram of her father. He was the probable recipient of the painting, to whom Sofonisba felt herself in debt, since he had given her the chance to study painting under Bernardino Campi. (add in here)

Possible the painting was giving to a member of the Anguissola family (sof63)

she was a rare artist to have have engaged in extensive exchanges with no commercial concerns, surviving works have a lot to do with conception of family (lessons 4 and 10)

Interpretations

The Monogram

An example of monograms popular in the Renaissance

Insert possible readings of the monogram and a brief history of what they mean in renaissance art

(Basic description) in roman capital letters (cite)

Pattern of intertwined letters in media was a popular Renassiance device amongst intellectuals. the monograms played upon a double entendre which would engage the viewers. (sof63) Similarly Anguissola used the monogram in an emblematic fashion to produce a form of self representaiton (boston)

seemingly taken inspiration for a book... ornamental forms into a 3-dimensional object.

interpretation 1 Harris : with the letters E R M A L C I (p 156) form a cypher of the name AMILCARE. significant part of her life. presents Amilcare as her protector, and herself as her fathers supporter carrying his name.(39)

interpretation 2: Saccal with the letters E R A C K Y M (I can also talk about why this is disproved, like the letters Y and K arent in the italian alphabet) (sof 63)

The Inscription

Arounf the shield lies the inscription of the piece, reads «SOPHONISBA ANGUSSOLA VIR(GO) IPSIUS MANU EX (S)PECULO DEPICTAM CREMONAE». one translation of this is: by the maiden Sophonisba Anguissola depicted from the mirror, in her own hand, in Cremona. (lessons 35).

Signature: declares that she made the work, she is autonomous creator (lesson 2) the proud use of her surname links herself to her noble family (lesson4) . this was the only one of her inscriptions which includes "ex speculo depicta", so it is concievable that she may have used a mirror for the portrtait (lessons 38) Also one of the two portraits where Anguissola has signed her name Sophonsiba -- connecting herself with her ancient namesake. (sof61)

History of the Work

like the damage of the painting, where it resides today

Today the painting is in the frame of a pendant resulting from technical intervention from 1940s repair of an earlier glass cover (lessons 33)

The painting was badly damaged after 1983 and her left hand is now missing (sof. 61)

Provenance

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Exhibition History

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