Fede galicia biography samples
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Fede Galizia
Italian artist (c. 1578–c. 1630)
Fede Galizia | |
|---|---|
Judith with the Head of Holofernes (1596). The figure of Judith is believed to be a self-portrait. | |
| Born | Fede Galizia c. 1578 Milan |
| Died | c. 1630 Milan |
| Nationality | Italian |
| Known for | Painting |
| Movement | Mannerism |
Fede Galizia, better known as Galizia, (c. 1578 – c. 1630) 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.[1]
Life
[edit]Fede Galizia was born in Milan probably in 1578.[2] Her father, Nunzio Galizia, also a painter of miniatures, had moved to Milan from Trento. Fede (whose name means "faith") learned to paint from him. By the age of twelve, she was sufficiently accomplished as an artist to be mentioned by Gian Paolo Lomazzo, a painter and art theorist friend of her father, who wrote, "[T]his girl dedicates h
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Artsmarts • • Author: Irina Olikh
In the 16th century,the world of art belonged to men,but the fairer sex besides left neat bright hollow in history. At some point,their obloquy were on everyone’s lips,and admiring male artists accepted them to the Academies of Art,breaking their own rules. How upfront these ladies manage to become famous artists?
At the age of 20,this artist built her self-portrait — the chief self-portrait in history,depicting the female artist at work.
Levina Teerlinc (ca.1510-1576) – boring artist be in command of the Tudors
Levina Teerlinc was destined to become an artist. Cook father accept grandfather were Flemish miniaturists,who kept their own class in Ghent. Apostle Bening dreamed of a son who would keep on the race artistic barrage
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c. 1620s
Oil on canvas
127 x 95.5 cm (50 x 37 5/8 in.) With frame: 148 x 116 x 11 cm (58 1/4 x 45 5/8 x 4 3/8 in.)
Savoia collection, Turin;
Private collection UK, twentieth century
Art market England, circa 1995;
Private European collection.
The provenance of this masterpiece by Fede Galizia is unknown, having appeared on the art market in Great Britain in 1995 where it was purchased by the heirs of the owners who presented it at auction some months ago.[1] The work’s verso, the original canvas, is inscribed ‘No. 208’ in red, seemingly in seventeenth-century handwriting, most likely referring to a hitherto untraced inventory.
Fede Galizia received her very early artistic education from her father Nunzio, a man of many artistic talents: a painter, miniaturist, and costume designer who, having moved from his native Trent to Milan, established a respected reputation in the city and in nearby courts.[2] Fede Galizia’s beginnings are difficult to decipher; it is clear, however, that by the time her earliest known signed works appear in 1596 (the Judith in Sarasota discussed further below, and the Portrait of Paolo Morigia now in the Pinacoteca Ambrosiana, Milan), she had already earned the esteem of contemporary critics, including the celebrated painter and theorist Giovan