Sofonisba Anguissola

Sofonisba Anguissola was one of the most outstanding female painters of Renaissance. Not only was she one of the four women Giorgio Vasari mentioned in the life of his famous artist, she opened the way for later female artists. Looking at the growing experience of Sofonisba, we can think that her talent is the result of her wealth and family background. However, if a more careful investigation is done by analyzing secondary resources and key resources, it is clear that Sofonisba 's ability to be formed by her talent rather than her wealth.

Sofonisba Anguissola is an Italian Renaissance painter who lived between 1532 and 1625. Art education at Sofonisba starts with studying at Bernardino Campi and Bernardino Gatti. This eventually became a precedent for women to be students of apprenticeship or art. Her father encouraged her and her sister to perform artistic activities, perhaps more than any other woman he experienced at that time. This is one thing common to the list. It seems out of place to encourage women to achieve their goals, dreaming of the future with creative art will lead to great success. For Sofonisba, this means that she can not study anatomy and life painting like a man (For many years women can not study naked figures)

In the 16th century Cremona created the most talented female artist of the Renaissance. Sofonisba Anguissola (1531 - 1625) was the most successful of the six sisters and was regarded as one of the first successful female artists. She was mentioned in episodes of several contemporary art biographies and even had the opportunity to learn from Michelangelo in a short time. Her sister Lucia Anguissola (1536-1568) was also a successful painter, but she died before having the opportunity to master most of her skills.

First, in 1554, there was a loving self-portrait of 22-year-old Sophonisva holding a book. Finally, her self-portrait started in 1610 and the artist showed that he was not receiving good dental care at the age of 77 - one thing was actually improved. At the age of 93, there is even the last portrait of Anthony Van Dyck. Last year she visited Anguissola in Sicily. He insisted that their conversation knew more that he was the "real principle" of paintings. Except for experts in art history, why are these self-portraits almost forgotten?