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By removing herself from the piece and instead attributing her work to a man, she is calling attention to the double standards of being a female artist during the 16th century. With it being shown as a piece by Campi, according to Garrard, it highlighted the common belief of the time that art, and creation in general, was masculine in nature. [1]
Portrait of Giambologna by Hendrick Goltzius, collection Teylers Museum. Giambologna (1529 [1] – 13 August 1608), also known as Jean de Boulogne (French), Jehan Boulongne (Flemish) and Giovanni da Bologna (Italian), was the last significant Italian Renaissance sculptor, with a large workshop producing large and small works in bronze and marble in a late Mannerist style.
Raphael: The Betrothal of the Virgin (1504), Pinacoteca di Brera, Milan.. Italian Renaissance painting is the painting of the period beginning in the late 13th century and flourishing from the early 15th to late 16th centuries, occurring in the Italian Peninsula, which was at that time divided into many political states, some independent but others controlled by external powers.
Italian Renaissance sculpture was an important part of the art of the Italian Renaissance, in the early stages arguably representing the leading edge. [1] The example of Ancient Roman sculpture hung very heavily over it, both in terms of style and the uses to which sculpture was put.
The First Corridor in the Uffizi. The Giovio portraits are the smaller paintings displayed just below the painted ceiling. The Giovio Series, also known as the Giovio Collection or Giovio Portraits, is a series of 484 portraits assembled by the 16th-century Italian Renaissance historian and biographer Paolo Giovio.
The body of art, including painting, sculpture, architecture, music and literature identified as "Renaissance art" was primarily produced during the 14th, 15th, and 16th centuries in Europe under the combined influences of an increased awareness of nature, a revival of classical learning, and a more individualistic view of man. [3]
At the turn of the 16th century, the House of Este began to patronize artists with diverse training backgrounds. These artists were familiar with the latest artistic developments of the Roman and Venetian Renaissance. [9] Local artists sought out Venice as a result of the alliances established by the House of Este and their preferences.
By chance, the main phases of Venetian painting fit rather neatly into the centuries. The glories of the 16th century were followed by a great fall-off in the 17th, but an unexpected revival in the 18th, [3] when Venetian painters enjoyed great success around Europe, as Baroque painting turned to Rococo.