I’m delighted to read of Genova’s successful near-completion of the bridge that collapsed so very recently, in 2018. It gives me a feeling of optimism, literally a bridge for the future, inspiring.
I can’t resist connecting the success of this modern-day project with Sofonisba’s life of creative invention (invenzione/inventione). Sofonisba and her husband lived in Genoa from 1580 to 1615 before transferring to Sicily. During her time in Genoa, she continued to innovate, to paint high and low, and to influence artists, some of whom followed her footsteps to the Spanish court to contribute to the Escorial and the Spanish Habsburg collection. Her work and her mentoring of the next generation (the way Michelangelo mentored her) were formative to the artistic, creative, dynamic life of Genoa in the late 16th and early 17th centuries. Four hundred years later, that creativity can make your heart sing.
In honor of Sofonisba’s newly recognized accomplishments and the Prado exhibition of her work, I would like to present her Boy Bitten (drawn for Michelangelo) and her Girl Laughing next to each other to accentuate Sofonisba’s effort. She conceived of these close in time and the figures and positioning show how she experimented with subtle changes. Sofonisba truly was a master Renaissance painter like her mentor Michelangelo. (Chapter 5 of Lady in Ermine).
We are so privileged to recognize her talent and effort now.
In September of 1559, Amilcare Anguissola wrote as a devoted and obedient vassal “devotissimo, et ubidiente vassallo” to Philip II, the King of Spain, to accept the summons sent to his very dear daughter Sofonisba “me tanto carissima figliola” to serve as a lady in waiting to the next Queen of Spain “Serenissima nostra Regina” the French princess Elisabet de Valois, daughter of Catherine de Medici and Henry II.
Amilcare hoped that Sofonisba would be housed as if in a monastery, “una Religioso Monestero, molto mi consolo”
How wrong her father was. Sofonisba’s life at the Spanish court from 1560-1573 was anything but cloistered.
The 16th century artist, critic, and historian Giorgio Vasari is best known for his voluminous Lives of the Artists series where he painstakingly documents the biographies and styles of the great Renaissance masters.
Master portraitist Sofonisba Anguissola inspired Giorgio Vasari.
In 1566, Giorgio went to Cremona in Northern Italy to visit Sofonisba’s childhood home. Sofonisba was not present during his visit to Cremona. She was in Spain serving at the court of Philip II.
The Chess Game (1555) Museum Narodow Poznan, Poland. By 1600, Chess Game is at the Roman estate of Fulvio Orsini. Cat. 43
Stunned by Sofonisba’s Chess Game and her Family Portrait, Giorgio said Sofonisba made her figures appear truly alive, a testament to her mastery in portraiture according to Leonardo, who resided in Milan at the dawn of the 16th century.
Vasari was familiar with Sofonisba’s reputation in Roman circles from the 1550s. She influenced Michelangelo with her Boy Bitten by a Crayfish. She painted a portrait of Isabel Queen of Spain for Pope Pius IV in Rome in 1561.
Giorgio Vasari was also a portraitist. He painted Catherine de Medici’s wedding portrait before she went to Paris to marry Henry II King of France.
After visiting the Anguissola household in 1566, Giorgio Vasari began his greatest self-portrait, housed today at the Uffizzi in Florence. In it, Giorgio highlights his own face and hands, indicates his occupation, and shows the depth of his feeling on a muted background. His 1566 self-portrait is so similar to Sofonisba’s style, one could superimpose the face of any of Sofonisba’s sitters upon it. Perhaps it was Giorgio’s tribute to Sofonisba.