Irene di Spilimbergo | |
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 Painting by Gian Paolo Pace, a follower of Titian, c. 1560 | |
| Born | 17 October 1538 Spilimbergo, Republic of Venice |
| Died | 17 December 1559 (aged 21) Venice, Republic of Venice |
Irene di Spilimbergo (17 October 1538 - 17 December 1559) [1] was an Italian Renaissance painter and poet.
She is mostly known for an effusive volume of poetic elegies published two years after her death by Dionigi Atanagi and containing 279 Italian and 102 Latin poems, some anonymous, and others either penned or attributed to contemporary cultural figures including Lodovico Dolce, Torquato Tasso, Titian, Girolamo Muzio, Luigi Tanzillo, Giuseppe Bettusi, and Benedetto Varchi.
Born in Spilimbergo (in the province of Pordenone), a small town about thirty kilometers northwest of Udine, by report she demonstrated her artistic abilities at a young age. She is compared sometimes with another woman painter, Sofonisba Anguissola (born in Cremona and of greater longevity (1532–1625). Irene studied under Titian for two years. Few if any of her works are known. Her true nature and skills are difficult to sift from the poetic legend; she was for her eulogists the equivalent of the prototypical ever-innocent feminine charm, what Beatrice was to Dante and Laura to Petrarch, although girded with a paint-brush for the craft-oriented Renaissance.
The National Gallery of Art (Washington, D.C.) houses two paintings in relation to her: a portrait of her sister Emilia di Spilimbergo, with a landscape background, has been attributed to Gian Paolo Pace, a follower of Titian, and a pendant portrait of Irene di Spilimbergo is thought to be by Gian Paolo Pace and Titian. [2]
She died in Venice at the age of 21.
Sofonisba Anguissola, also known as Sophonisba Angussola or Sophonisba Anguisciola, was an Italian Renaissance painter born in Cremona to a relatively poor noble family. She received a well-rounded education that included the fine arts, and her apprenticeship with local painters set a precedent for women to be accepted as students of art. As a young woman, Anguissola traveled to Rome where she was introduced to Michelangelo, who immediately recognized her talent, and to Milan, where she painted the Duke of Alba. The Spanish queen, Elizabeth of Valois, was a keen amateur painter and in 1559 Anguissola was recruited to go to Madrid as her tutor, with the rank of lady-in-waiting. She later became an official court painter to the king, Philip II, and adapted her style to the more formal requirements of official portraits for the Spanish court. After the queen's death, Philip helped arrange an aristocratic marriage for her. She moved to Sicily, and later Pisa and Genoa, where she continued to practice as a leading portrait painter.
Giorgio Barbarelli da Castelfranco, known as Giorgione, was an Italian painter of the Venetian school during the High Renaissance, who died in his thirties. He is known for the elusive poetic quality of his work, though only about six surviving paintings are firmly attributed to him. The uncertainty surrounding the identity and meaning of his work has made Giorgione one of the most mysterious figures in European art.
Tiziano Vecellio, Latinized as Titianus, hence known in English as Titian, was an Italian Renaissance painter, the most important artist of Renaissance Venetian painting. He was born in Pieve di Cadore, near Belluno. During his lifetime he was often called da Cadore, 'from Cadore', taken from his native region.
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Giovanni Battista Moroni was an Italian painter of the Mannerism. He also is called Giambattista Moroni. Best known for his elegantly realistic portraits of the local nobility and clergy, he is considered one of the great portrait painters of the Cinquecento.
Paris Bordone was an Italian painter of the Venetian Renaissance who, despite training with Titian, maintained a strand of Mannerist complexity and provincial vigor.
Properzia de' Rossi was a ground-breaking female Italian Renaissance sculptor and one of only four women to receive a biography in Vasari's Lives of the Artists.
Lavinia Fontana was an Italian Mannerist painter active in Bologna and Rome. She is best known for her successful portraiture, but also worked in the genres of mythology and religious painting. She was trained by her father, Prospero Fontana. She is regarded as the first female career artist in Western Europe, as she relied on commissions for her income. Her family relied on her career as a painter, and her husband served as her agent and raised their 11 children. She was perhaps the first female artist to paint female nudes, but this is a topic of controversy among art historians.
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Fede Galizia, better known as Galizia, was an Italian painter of still-lifes, portraits, and religious pictures. She is especially noted as a painter of still-lifes of fruit, a genre in which she was one of the earliest practitioners in European art. She is perhaps not as well known as other female artists, such as Angelica Kauffman and Élisabeth Vigée Le Brun, because she did not have access to court-oriented or aristocratic social circles, nor had she sought the particular patronage of political rulers and noblemen.
Events from the year 1551 in art.
The decade of the 1480s in art involved some significant events.
Events from the year 1567 in art.
The Feast of the Gods is an oil painting by the Italian Renaissance master Giovanni Bellini, with substantial additions in stages to the left and center landscape by Dosso Dossi and Titian. It is one of the few mythological pictures by the Venetian artist. Completed in 1514, it was his last major work. It is now in the National Gallery of Art in Washington D.C., which calls it "one of the greatest Renaissance paintings in the United States".
Venetian painting was a major force in Italian Renaissance painting and beyond. Beginning with the work of Giovanni Bellini and his brother Gentile Bellini and their workshops, the major artists of the Venetian school included Giorgione, Titian, Tintoretto (1518–1594), Paolo Veronese (1528–1588) and Jacopo Bassano (1510–1592) and his sons. Considered to give primacy to colour over line, the tradition of the Venetian school contrasted with the Mannerism prevalent in the rest of Italy. The Venetian style exerted great influence upon the subsequent development of Western painting.
Flora is an oil painting by Italian late Renaissance painter Titian, dated to around 1515 and now held at the Uffizi Gallery in Florence.
Woman Holding an Apple, also known as Portrait of a Lady, is an oil painting by Titian, made in around 1550, which hangs in the National Gallery of Art in Washington, D.C.
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