Elisabetta Sirani (8 January 1638 – 28 August 1665) was an Italian

Baroque The Baroque (, ; ) is a style of architecture, music, dance, painting, sculpture, poetry, and other arts that flourished in Europe from the early 17th century until the 1750s. In the territories of the Spanish and Portuguese empires including ...

painter and printmaker who died in unexplained circumstances at the age of 27. She was a pioneering female artist in early modern

Bologna Bologna (, , ; egl, label= Emilian, Bulåggna ; lat, Bononia) is the capital and largest city of the Emilia-Romagna region in Northern Italy. It is the seventh most populous city in Italy with about 400,000 inhabitants and 150 different na ...

, who established an academy for other women artists.

Life

Elisabetta Sirani was born in Bologna on 8 January 1638, the first of four children of Margherita and

Giovanni Andrea Sirani Giovanni Andrea Sirani (4 September 1610 – 21 May 1670) was an Italian Baroque painter from Bologna. He is best known as the father of the female painter Elisabetta Sirani. Sirani trained initially with Giacomo Cavedone, then worked in the ...

. Giovanni was an art merchant and painter of the School of Bologna, having been a favorite pupil of

Guido Reni Guido Reni (; 4 November 1575 – 18 August 1642) was an Italian painter of the Baroque period, although his works showed a classical manner, similar to Simon Vouet, Nicolas Poussin, and Philippe de Champaigne. He painted primarily religi ...

. He did not produce many works during his lifetime; instead, he took over Reni's job as a teacher, and became the master in the first life school held in the house of Ettore Ghislieri. Sirani first trained as a painter in her father's studio. There is evidence that Giovanni was not inclined, at first, to have his daughter as a pupil, but she picked up his technique nonetheless and became one of the most renowned painters in Bologna. The art biographer

Carlo Cesare Malvasia Carlo Cesare Malvasia (1616–1693) was an Italian scholar and art historian from Bologna, best known for his biographies of Baroque artists titled ''Felsina pittrice'', published in 1678. Life and career Malvasia is the Bolognese equivalen ...

, a personal acquaintance of the Sirani family, claimed credit for recognizing Elisabetta's talent and persuading her father to train her as a painter, although this was likely self-aggrandizing. Sirani's biography is included in Malvasia's two-volume ''Felsina pittrice: vite de’pittori bolognesi'', or ''Lives of the Bolognese Painters'', first published in 1678. She is presented therein as the epitome of Bolognese genius, and Malvasia takes much pride in his (alleged) contribution to her early career. Throughout, he praises the originality of her compositions, her style of drawing, her fast manner of working and her professionalism, contrasting her with Lavinia Fontana, an earlier Bolognese woman painter whom he describes as timid. In building her painting style, Sirani studied the works of

Annibale Carracci Annibale Carracci (; November 3, 1560 – July 15, 1609) was an Italian painter and instructor, active in Bologna and later in Rome. Along with his brother and cousin, Annibale was one of the progenitors, if not founders of a leading strand of t ...

Lorenzo Pasinelli Lorenzo Pasinelli (September 4, 1629 – March 4, 1700) was an Italian painter active mainly in Bologna during the late Baroque period. He was born in Bologna, and initially trained in the studio of Simone Cantarini. He then pursued studies in R ...

, Desubleo,

Simone Cantarini Simone Cantarini or Simone da Pesaro, called ''il Pesarese'' (Baptized on 21 August 1612 – 15 October 1648) was an Italian painter and etcher. He is mainly known for his history paintings and portraits executed in an original style, which ...

, and Cignani. Along with technique, her early education included outlines of Bible history and the legends of saints, as well as Classical mythology. She was also knowledgeable in music, one of the reasons being that her brother-in-law was a musician. Although music was considered "most detrimental to the modesty fitting to

omen An omen (also called ''portent'') is a phenomenon that is believed to foretell the future, often signifying the advent of change. It was commonly believed in ancient times, and still believed by some today, that omens bring divine messages fr ...

distracting them from their proper activity and occupation", Sirani's acquaintance with the subject never hurt her reputation. According to some scholars, Sirani's artistic reputation soon overshadowed that of both her father and her two sisters, who were also painters. When, by 1654, Giovanni Andrea Sirani became incapacitated by gout, Elisabetta began running her family's workshop. She was at this point the household's primary breadwinner, supporting the family with her teaching fees and portrait commissions. Her studio was highly successful, partially due to the progressive atmosphere of Bologna, where women artists were accepted and celebrated.

Death

Sirani died suddenly in August 1665, in Bologna. Her death was considered suspicious and a maidservant, Lucia Tolomelli, was charged with poisoning the artist and put on trial. Suspicion fell on Tolomelli because she had requested to end her service to the family only days before Sirani's death. Giovanni Andrea Sirani withdrew the charges soon after the trial. Laura Ragg comments that Sirani died at "an age regarded as young indeed for death, but hopelessly late for marriage." Malvasia attributed her death to love-sickness because Sirani never married. Her actual cause of death was most likely the onset of

peritonitis Peritonitis is inflammation of the localized or generalized peritoneum, the lining of the inner wall of the abdomen and cover of the abdominal organs. Symptoms may include severe pain, swelling of the abdomen, fever, or weight loss. One part o ...

after a ruptured peptic ulcer. This may have been the result of the intense stress she was submitted to after she was charged with providing for her entire household. CATAFALQUE OF THE BOLGONESE ARTIST ELISABETTA SIRANI

CATAFALQUE OF THE BOLGONESE ARTIST ELISABETTA SIRANI

Sirani was given an elaborate funeral which included an enormous

catafalque A catafalque is a raised bier, box, or similar platform, often movable, that is used to support the casket, coffin, or body of a dead person during a Christian funeral or memorial service. Following a Roman Catholic Requiem Mass, a catafalqu ...

with a life-sized sculpture of the artist (illustrated in Malvasia's biography), orations and music composed in her honor by Bologna's most prominent citizens, and she was buried in the Basilica of San Domenico, Bologna, in the same tomb as her father's teacher, Guido Reni. Sirani's public funeral is regarded by some, including Laura Ragg, as a eulogy to Bologna, the city that gave birth to Sirani, considered a precocious and prolific artist by her contemporaries. Sirani was described by a poet as the ''Lamented Paintbrush''. Malvasia suggests that it was not poisoning but a condition that arose spontaneously in the body of a “vivacious and spirited woman, concealing to the highest degree her craving for a perhaps coveted husband denied to her by her father.” A city official at the time wrote that “She is mourned by all. The ladies especially whose portraits she flattered, cannot hold their peace about it. Indeed it is a great misfortune to lose such great artist in so strange a manner.” The ostentatious and elaborate funeral she received reflects the high esteem she was held in by her contemporaries and indeed her international fame.

Pupils

Not only was Elisabetta Sirani the successor of her father's workshop, she was also a great teacher of many, especially contributing to women artists’ development during the Renaissance period. She trained a number of men and women artists, including her younger sisters Barbara and Anna Maria and at least twelve other young women at the school she set up. This became the first school of painting for women outside a convent in Europe, and made sure that it was inclusive to women, regardless of if they were daughters of painters or would otherwise have lessons made available. Some of her pupils included Veronica Fontana, later known throughout Italy as a first-rate wood-engraver; Caterina Pepoli and Maria Elena Panzacchi, who also had an art career in Bologna; Camelia Lanteri and Lucretia Forni, who specialized in large-scale religious paintings; and Veronica Franchi, whose predilection was for mythological subjects.

Lucrezia Scarfaglia Lucrezia Scarfaglia (active 1677–1678) was a Bolognese painter of the 17th century. Almost nothing is known of her life and career save that she was a pupil of Elisabetta Sirani, after whose death she took lessons with Domenico Maria Canuti. She ...

was another pupil. Lastly, there was

Ginevra Cantofoli Ginevra Cantofoli (1618–1672) was an Italian painter. She was active in Bologna during the Baroque period. Career Cantofoli was born in Bologna, Italy in 1618. She trained under Giovanni Andrea Sirani, the father of Elisabetta Sirani, in B ...

, represented during her career as Sirani's enemy and rival. Sirani received her first commission in her teens, a Baptism of Christ, a companion piece to an earlier done painting by her father at the Campo Santo of Bologna.

Works

Sirani produced over 200 paintings, 15 etchings, and hundreds of drawings, making her an extremely prolific artist, especially considering her early death. Of these hundreds of drawings, about a quarter relate to known paints or prints done by Sirani. Sirani kept a meticulous list and records of her paintings and who commissioned them beginning in 1655, which is recorded in Malvasia's biography. Many of her paintings are signed.Malvasia 1678, Vol II, 467-76 and Italian Women Artists, 241. By Sirani signing her paintings when her male counterparts did not, this could be because she did not want her work to be confused with that of her father, her signature also offered a way to further prove her powers of invention, which, according to

Ann Sutherland Harris Ann Birgitta Sutherland Harris (born 4 November 1937) is a British-American art historian specializing in Baroque art, Modern art, and in the history of women's art. Career Harris is an educator, having held her first position in 1965 as an As ...

, distinguished her from other Italian women artists. Sirani's exceptional prodigiousness was the product of how quickly she painted. She painted so many works that many doubted that she painted them all herself. To refute such charges she invited her accusers on 13 May 1664 to watch her paint a portrait in one sitting. Her works cover a number of subjects, including historical and Biblical narratives, often featuring women, allegories, and portraits. Sirani was also the first female artist to specialize in

history painting History painting is a genre in painting defined by its subject matter rather than any artistic style or specific period. History paintings depict a moment in a narrative story, most often (but not exclusively) Greek and Roman mythology and Bible ...

, a style that many female painters that Sirani trained also followed. Sirani's specialization in history painting is very different than other female painters of the time, who usually only painted

still life A still life (plural: still lifes) is a work of art depicting mostly inanimate subject matter, typically commonplace objects which are either natural (food, flowers, dead animals, plants, rocks, shells, etc.) or man-made (drinking glasses, bo ...

s. 1657 was when she received her first major public commission in Bologna, from

Daniele Granchi Daniele is an Hebrew male given name, the cognate of the English name Daniel. Danièle is a French female given name, an alternative spelling of Danielle. Men with the given name Daniele * Daniele Bracciali (born 1978), Italian tennis player * ...

, prior of the Carthusian church of Certosa di Bologna. LaMadonnaSirani

She painted at least 13 public altarpieces, including ''The Baptism of Christ'' at the

Certosa di Bologna The Certosa di Bologna is a former Carthusian monastery (or charterhouse) in Bologna, northern Italy, which was founded in 1334 and suppressed in 1797. In 1801 it became the city's Monumental Cemetery which would be much praised by Byron and othe ...

of 1658.Modesti, 5. Around 1660, she began focusing extensively on small-scale devotional images, particularly the Virgin and Child and Holy Family, which were enormously popular with private collectors. Her patrons ranged from cardinals to kings, princes, dukes, merchants, and academics from Bologna and across Europe. Sirani became a celebrity in her city as visitors, such as diplomats, political leaders, and noblemen, would come to her studio to watch her work. Sirani's style is close to that of her father's teacher, Guido Reni, but Sirani employed more dramatic contrasts of light and shade, virtuoso brushstrokes, and more brilliant color. More similarities of her works may be found in the draftsmanship of Ludovico Carracci, Giovanni Francesco Barbieri (Guercino), and Simone Cantarini (Bohn). Her striking images of female heroines, such as ''Portia Wounding Her Thigh'' are comparable to the work of

Artemisia Gentileschi Artemisia Lomi or Artemisia Gentileschi (, ; 8 July 1593) was an Italian Baroque painter. Gentileschi is considered among the most accomplished seventeenth-century artists, initially working in the style of Caravaggio. She was producing profess ...

. Sirani often selected lesser-known subjects for her paintings and her unique interpretation of iconography drew praise from a number of contemporaries. “Sirani made drawings in a variety of media, such as brush and wash, pen and ink with wash, black chalk, red chalk, and a combination of the two.” Her drawings, while done in many different media, usually in pen or brush and ink, display the same brilliance as her paintings, often quickly executed with what Malvasia describes as "nonchalance." Sirani managed to thwart visual gender conventions, whereby portraiture was the expected genre for female artists. Instead, she transformed the format into an allegorical mode that solicits the observer's interpretation of the work. Sirani based many of her allegories on

Cesare Ripa Cesare Ripa (c. 1555, Perugia – Rome) was an Italian iconographer who worked for Cardinal Anton Maria Salviati as a cook and butler. Life Little is known about his life. He was born of humble origin in Perugia about 1555. The exact date o ...

's descriptions from his Iconologia, published in 1611. Some of her favored topics included Greek and Roman mythology and mythological figures, and the poetry of Horace. Male nudity was not often attempted by female artists of the time as they did not wish to display their lack of experience from life-drawing (a practice which was typically withheld from them). They were aware of the prurient effect inclusion of such subject matter may have on their reputations. If the male nude was depicted, it was usually done in a religious tone, depicting Jesus Christ for example. ''Ten Thousand Crucified Martyrs'' composition is replete with male nude figures. While it does fall under this religious category of the male nude, Sirani's work displays a strong sense of individuality.

''Judith and Holofernes'', c. 1660s

Elisabetta Sirani - Judith with the Head of Holofernes - WGA21460

The subject of Judith is a popular one for female artists of the seventeenth century, and even before and after. The number of women completing and studying history paintings increased at this time. This was especially prevalent for those who had fathers who exclusively studied history painting, or mostly this topic. Elisabetta Sirani was no exception, as her father, Giovanni Andrea Sirani, studied and taught history painting. In Sirani's rendition, extremely different from Gentileschi's Caravaggio-esque version, Judith is the apex figure, creating a classical, triangular composition reminiscent of the Renaissance. Judith's handmaiden is old and decrepit, aiding Judith with carrying the head of Holofernes. Sirani portrays Judith in the nighttime, succumbing to the viewer with her act of murder. This painting has often been compared to Gentileschi's ''Judith Slaying Holofernes'' from 1620, which has often been regarded as violent. Both represent Judith as a strong figure, though Sirani's hierarchically reaches the top of the picture plane. Whereas Gentileschi portrays the handmaiden in total collusion with Judith, Sirani depicts a less active handmaiden, emphasizing the forcefulness of Judith in this way. In other renditions of Judith and Holofernes by Sirani, Judith is still cool and mild-mannered. Her fierceness lies in the action of slaying Holofernes, rather than in her face or movements within the composition. In each of Sirani's versions, Judith does not look at the severed head of Holofernes. Rather than being decisive and involved, as Gentileschi's Judiths are, she is rather a beautiful woman to be regarded and appraised. This fact and comparison to Gentileschi proves that the underlying female-ness of the paintings have nothing in common other than the fact that they were both created by women. Feminist art historians have observed this as an example of how women artists stand on their own and distinguish themselves from each other.

''St. Anthony of Padua'', 1662

This painting is hung in the Pinacoteca in Bologna near the work of Guido Reni. The young saint, who is normally portrayed as an ascetic dreamer, is seen here kneeling as a lover of children. The celestial children are painted with an essence of earthly delight that some scholars regard as never been done before. The composition reveals a diagonal thrust that contrasts greatly with the other paintings in the same gallery. It was commissioned by Giovanni Battista Cremonese, a jeweler.

''Portia Wounding Her Thigh'', 1664

Elisabetta Sirani - Portia wounding her thigh

This painting is often understood from a feminine perspective. The image consists of a somber background and a large Portia clad in red wielding a knife above her already bleeding, exposed thigh. Many feminist scholars regard this as an image of a strong-willed woman. According to Plutarch, the original teller of the story of Portia wounding her thigh, Portia harmed herself greatly to prove to her husband, Brutus, that she could share in his burdens and secrets. The idea was to convince her husband of her strength of will. However, modern scholars reflect how this image may not be as feminist in its message as others have interpreted. Modern scholars argue that the necessity of self-mutilation to prove a woman's strength of will in order to have access to her husband's thoughts questions such a feminist reading. Furthermore, a sadomasochistic sexuality is latent in Portia's exposed thigh, loosened robe, poised knife, and her snake-like headdress. The seventeenth century was rife with dark, sexual, violent, and disturbing images, so it is not surprising that Sirani chose a heavy, closed atmosphere with somber lighting and rich colours. This mode of representation reflects her teacher, Guido Reni, as opposed to Artemisia Gentileschi, whose work is often held up against Sirani's. In this painting, Sirani confirms Reni's overarching sexual ideology, while Gentileschi's work often disrupted this.

In popular culture

Sirani is referenced in Judy Chicago's ''

The Dinner Party ''The Dinner Party'' is an installation artwork by feminist artist Judy Chicago. Widely regarded as the first epic feminist artwork, it functions as a symbolic history of women in civilization. There are 39 elaborate place settings on a triang ...

'' In 1994, a crater on the planet

Venus Venus is the second planet from the Sun. It is sometimes called Earth's "sister" or "twin" planet as it is almost as large and has a similar composition. As an interior planet to Earth, Venus (like Mercury) appears in Earth's sky never f ...

was named after Sirani. Sirani's painting ''

Virgin and Child In art, a Madonna () is a representation of Mary, either alone or with her child Jesus. These images are central icons for both the Catholic and Orthodox churches. The word is (archaic). The Madonna and Child type is very prevalent ...

'' of 1663, now in the collection of the

National Museum of Women in the Arts The National Museum of Women in the Arts (NMWA), located in Washington, D.C., is "the first museum in the world solely dedicated" to championing women through the arts. NMWA was incorporated in 1981 by Wallace and Wilhelmina Holladay. Since openi ...

in Washington, D.C., was selected for the

United States Postal Service The United States Postal Service (USPS), also known as the Post Office, U.S. Mail, or Postal Service, is an independent agency of the executive branch of the United States federal government responsible for providing postal service in the ...

Christmas Holiday Stamp series in October 1994. This was the first work by a woman artist chosen for the series. Her ''

Herodias Herodias ( el, Ἡρῳδιάς, ''Hērǭdiás''; ''c.'' 15 BC – after AD 39) was a princess of the Herodian dynasty of Judaea during the time of the Roman Empire. Christian writings connect her with John the Baptist's execution. Family rel ...

with the Head of

John the Baptist John the Baptist or , , or , ;Wetterau, Bruce. ''World history''. New York: Henry Holt and Company. 1994. syc, ܝܘܿܚܲܢܵܢ ܡܲܥܡܕ݂ܵܢܵܐ, Yoḥanān Maʿmḏānā; he, יוחנן המטביל, Yohanān HaMatbil; la, Ioannes Bapti ...

'' is featured on the cover of the Canadian technical death metal band

Cryptopsy Cryptopsy is a Canadian technical death metal band from Montreal, formed in 1988. History Necrosis (1988–1992) Necrosis was formed in April 1988 by drummer Mike Atkin, guitarist Steve Thibault and vocalist Dan "Lord Worm" Greening, initially ...

's 1996 album ''

None So Vile ''None So Vile'' is the second studio album by Canadian death metal band Cryptopsy, released on 3 July 1996 by Wrong Again Records. The album was later reissued by Displeased Records and Century Media Records. It was re-released on vinyl in 2012 ...

''.

Gallery

File:Sitani, Allegory of music.jpg, ''Allegory of Music'', 1659 File:Elisabetta Sirani - Judith with the Head of Holofernes - Walters 37253.jpg, ''Judith with the Head of Holofernes'' File:Sirani drawing.JPG, ''Virgin and Child'', ink and wash on paper File:Sirani virtues.JPG, ''Allegory of Justice, Charity, and Prudence'', 1664 File:Sirani31.jpg, ''St. Joseph with the Infant Jesus'', c. 1662 File:Battesimo di Cristo - E. Sirani.png, ''Baptism of Christ'', 1658 File:Elisabetta Sirani - The Finding of Moses.jpg, ''Finding of Moses'', by 1665 File:Sirani Vincenzo Ferdinando Ranuzzi.jpg, ''Portrait of Vincenzo Ferdinando Ranuzzi as Amor'', 1663 File:Sirani, Elisabetta - Timoclea uccide il capitano di Alessandro Magno - 1659.jpg, ''Timoclea Kills the Captain of Alexander the Great'', 1659

References and sources

References

Sources

Artist Profile: Elisabetta Sirani'
National Museum of Women in the Arts. * Bohn, Babette. "Elisabetta Sirani and drawing practices in early modern Bologna," ''Master Drawings'', vol. 42, no. 3 (Autumn 2004): 207–236. * Dabbs, Julia K. ''Life Stories of Women Artists, 1550–1800: An Anthology''. Burlington, VT: Ashgate, 2009, 121–132. * Fortune, Jane, with Linda Falcone. "Chapter 16: Drawing conclusions: Elisabetta Sirani and the Gabinetto Disegni e Stampe" in ''Invisible Women: Forgotten Artists of Florence''. 2nd ed. Florence, Italy: The Florentine Press, 2010: 121–127. * Frick, Carole Collier et al. ''Italian Women Artists: From Renaissance to Baroque''. New York: Rizzoli, 2007. Catalog of an exhibition held at the National Museum of Women in the Arts, Washington, D.C. * Malvasia, Carlo Cesare. "Di Gio. Andrea Sirani e di Elisabetta sua figlivola", ''Felsina pittrice, vité de pittori bolognesi'' (2 vols, Bologna, 1678), vol. II, 453–487. Digital Edition: http://catalog.hathitrust.org/Record/000461733. * Modesti, Adelina. ''Elisabetta Sirani 'Virtuosa' Women's Cultural Production in Early Modern Bologna''. Turnhout, Belgium: Brepols, 2014. * Tufts, Eleanor. "Chapter 7: Elisabetta Sirani, 1638–1665" in ''Our Hidden Heritage: Five Centuries of Women Artists''. New York and London: Paddington Press Ltd., 1974: 81–87.