02221nam0a2200289 45000010008000000050017000080100022000251000041000471010008000882000076000962100059001722150031002312600009002623200090002713270191003613300887005526000090014396000084015296060085016136060043016986760007017417000036017488010042017848520072018269090012018989200021019101-8546620230906113828.0 a978-0-691-19832-3 a20230906d20192019 y0frey03 ba aeng1 aSofonisba's lesson ea Renaissance artist and her workfMichael W. Cole aPrinceton and OxfordcPrinceton University Pressd2019 a307 σ.cεικ.d25 εκ. c2019 aΠεριέχει βιβλιογραφία (σελ. 274-300) και ευρετήριο0 a"In the presence of her father" -- "The most affectionate disciple" -- The image of learnedness -- The image of teaching -- Spain -- Painting and the education of daughters -- Catalogue. a"Within a span of seven or eight years in the 1550s, the Italian painter Sofonisba Anguissola produced more self-portraits than any known painter before her had in a lifetime. She was the first known artist in history to take her parents and siblings as primary subject matter, and may have painted the first group portrait featuring only women. Cole examines Sofonisba's paintings as expressions of her relationships and networks, looking at why Sofonisba was able to become a great woman artist: at her father, who decided to allow her to be educated as a painter; at her teacher, Bernardino Campi; and at her relationships with her students, sisters, and patrons, who included the Queen of Spain. Cole demonstrates that Sofonisba made teaching and education a central theme of her painting. The book also provides the first complete catalogue of all of Sofonisba's known works"-- 1aAnguissolabSofonisba,fapproximately 1532 or 1533-1625xCriticism and interpretation 1aAnguissolabSofonisba,fapproximately 1532 or 1533-1625xCatalogues raisonnés0 aΓυναίκες ζωγράφοιxΚοινωνικά δίκτυαyΙταλία aWomen paintersxSocial networksyItaly aΜ 1aColebMichael Waynef1969-4070 aGRbNATIONAL GALLERYc20230906gAACR2 aINSTbLIBRARYe20230906hM ANG 2019p036000037412q036000037412uBK b0029944 cΑΓΟΡΑz2023