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Cesare Ripa (c. 1555, Perugia – () January 22, 1622 Rome) was an Italian iconographer who worked for Cardinal Anton Maria Salviati as a cook and butler. Life [ edit ]
The scene depicts Gentileschi painting herself, who is in turn represented as the “Allegory of Painting” illustrated by Cesare Ripa. It is now in the British Royal Collection. [1] The painting demonstrates rare feminist themes from a time when women seldom held jobs, let alone were well known for them.
Original – Self-Portrait as the Allegory of Painting. Artemisia Gentileschi, 1638-39. 96.5 by 73.7 centimetres (38.0 in × 29.0 in) Reason We don't have nearly enough works by women artists. Here's a particularly interesting one, in which Artemisia Gentileschi depicted herself as the “Allegory of Painting” illustrated by Cesare Ripa.
Art historian Martin S. Soria titles the painting Spain, Time, and History and claims that the painting was likely created around 1797. He asserts the strong influence of Cesare Ripa's Iconologia (first published in 1596) on Goya's depiction of Time and History as classic allegorical figures. In Soria's interpretation, History fulfills a ...
Vermeer's iconography in the painting is largely taken from Cesare Ripa's Iconologia, an emblem book (a collection of allegorical illustrations with accompanying morals or poems on a moral theme) which had been translated into Dutch in 1644 by D. P. Pers. The artist used various symbols that Ripa described and illustrated in his book, along ...
The Art of Painting, also known as The Allegory of Painting (Dutch: Allegorie op de schilderkunst), or Painter in his Studio, is a 17th-century oil on canvas painting by Dutch painter Johannes Vermeer. It is owned by the Austrian Republic and is on display in the Kunsthistorisches Museum in Vienna. [1]
The most famous of these was the Iconologia of Cesare Ripa, first published unillustrated in 1593, but from 1603 published in many different illustrated editions, using different artists. This set at least the identifying attributes carried by many personifications until the 19th century.
In 1593, Cesare Ripa published one of the most successful emblem books for the use of artists and artisans who might be called upon to depict allegorical figures. He covered an astonishingly wide variety of fields, and his work was reprinted many times, though the text did not always correlate to the illustration. [ 5 ]