During the reign of Ferdinand his botanical gardens were restored, flowers became a decorative feature in the interiors of the Palazzo Pitti and still-life paintings from the Netherlands and Flanders entered the Medici collections. It was there that she worked for Grand Duke Ferdinand II and Grand Duchess Vittoria della Rovere, as well as the brothers of the Grand Duke. Chinese dish with artichokes, rose and strawberries (c. 1655–62), Giovanna Garzoni. A Wunderkammer was to be found in every European court, and Garzoni would have seen many in her travels. Your email address will not be published. The annoying flies on the biscuit add an amusing touch that is not unusual in Italian painting, and can be traced back to an anecdote about a fly painted by Giotto. Contact with the new scientific academies in Rome, with Cassiano dal Pozzo, and Florence, with Jacopo Ligozzi, gave Garzoni exposure to the period enthusiasm for gardens and plants, and the widespread production of botanical images commissioned by enthusiasts. The first of the exhibition’s six rooms displayed some of her remarkable portraits, including a miniature of the self-proclaimed Prince, Saga Chrestos, a pretender to the throne of Ethiopia who converted to Christianity and toured the courts of Europe. Museums face difficult financial choices, but there has to be a better way forward than the pitting of staff against permanent collections. Yixing Vase Containing Diverse Flowers on a Marble Table between Two Shells, with Butterflies above, 1659–1660, by Giovanna Garzoni. Posters are a powerful tool in clear and consistent public health-messaging – so why aren’t we seeing more of them? More Art Herstory blog posts about Italian women artists: Plautilla Bricci (1616–1705): A Talented Woman Architect in Baroque Rome, Guest post by Dr. Consuelo Lollobrigida, Two of a Kind: Giovanna Garzoni and Artemisia Gentileschi, Guest post by Dr. Mary D. Garrard, Sister Caterina Vigri (St. Catherine of Bologna) and “Drawing for Devotion,” Guest post by Dr. Kathleen G. Arthur, Orsola Maddalena Caccia (1596–1676), Convent Artist, Guest post by Dr. Angela Ghirardi, Rediscovering the Once Visible: Eighteenth-Century Florentine Artist Violante Ferroni, Guest post by Dr. Ann Golob, Renaissance Women Painting Themselves, Guest post by Dr. Katherine McIver, The Priceless Legacy of Artemisia Gentileschi: A Curator’s Perspective, Guest post by Dr. Judith W. Mann. Gallerie degli Uffizi, Florence. This guest post reviews the recent art exhibition, curated by Dr. Sheila Barker, presented by the Uffizi Galleries at Andito degli Angiolini, Palazzo Pitti, Florence, Italy, 28 May–28 June 2020 (originally scheduled 10 March–24 May 2020). Turning her back on the conventional role reserved for women in her day, Garzoni travelled in Italy, and possibly also in France, gaining access to the most important collections of curios of her era. She must have worked slowly and the fruit and flowers matured under her gaze; leaves wither, figs split open, cherries and peaches are at their most splendid, and strawberries and artichokes have to be eaten soon. Giovanna produced her own, meticulously executed collection known as “Piante Varie,” but it would be the botanical still-life, with fruits and flowers and insects, that was to become one of her most successful subjects. In harmonic and often relatively small compositions, the painter combines exotic objects of extremely varied provenance such as Chinese porcelain, Pacific nautili, Mexican marrows and flowers, South American plants and English lapdogs, in an effort both to astonish and to amuse. Mary D. Garrard and Sheila ffolliott belong to a vanguard of American art historians whose work in the 1980s has remained pivotal for the study of women as artists in Renaissance and Baroque Europe. Female self-portraits were often given as gifts to aristocratic patrons of the arts in order to make a young artist known, and to stimulate curiosity about her work. The exhibition thus displays real seashells from Central America, and porcelain plates and vases from China taken from the Medici and other historic collections, items that are similar or even identical to those which appear in Garzoni’s paintings along with more familiar fruits and vegetables. With new labels for some of its most contested objects the museum is engaging in an important conversation – but has it got the tone wrong? Giovanna Garzoni (Ascoli Piceno 1600–Rome 1670) has been the object of increasing interest on the part of art historians, gender historians, historians of botanical illustration, and scholars of court life in seventeenth-century Italy. The exhibition showcases her works collected by the Medici and still owned by the Gallerie degli Uffizi, alongside targeted loans illustrating the artist's field of action and her prowess as a portraitist. A breath-taking tempera-on-parchment depiction of a bunch of exotic flowers arranged in a Yixing porcelain vase, flanked by two exotic shells and surmounted by butterflies, evokes the four elements (shells = water, ceramic vase = fire[d], flowers = earth, butterflies = air). Like many women artists of her time, she had received an elite education—letters, music and art—that facilitated her entry into the highest courts in Europe. Garzoni has gradually become better known since the 1960s, with her paintings featuring in exhibitions of still lifes and scholarly reappraisals, being snapped up when they occasionally appear at auction, and being used to illustrate Tuscan cookbooks. Thus the early self-portrait of Giovanna Garzoni, executed when she was between 18 and 20 years old, depicts her as a laurel-wreathed Muse or androgynous Apollo, holding a stringed viol. Your email address will not be published. More Art Herstory blog posts about museum exhibitions: Warp and Weft: Women as Custodians of Jewish Heritage in Italy, by Dr. Anastazja Buttitta, Women Artists of the Dutch Golden Age at the National Museum of Women in the Arts, A Tale of Two Women Painters, by Natasha Moura, Hearts of Our People: Native Women Artists, by Dr. Elizabeth Sutton, ‘Bright Souls’: A London Exhibition Celebrating Mary Beale, Joan Carlile, and Anne Killigrew, by Dr. Laura Gowing. The lapdog was presumably a favorite of Vittoria della Rovere, Granduchess of Tuscany, whose personal “curiosity cabinet” has been partially reconstructed in the last room of the exhibition, thanks to an unpublished inventory. The exhibition also put on display a little-known work by Garzoni that demonstrates her talent in textile arts, here put to service in a “paliotto” or front cover for an altar. Your email address will not be published. They are the focus of an exhibition that was meant to open in March at the Palazzo Pitti, and is now on view until the end of June. From the mid 1650s Garzoni was connected with the Accademia di San Luca back in Rome, to which she bequeathed her papers, sample book and art collection. The exhibition showcases her works collected by the Medici and still owned by the Gallerie degli Uffizi, alongside targeted loans illustrating the artist's field of action and her prowess as a portraitist. Miniature copies of paintings by Raphael were commissioned by her Medici patrons, who even permitted her to borrow the large tondo of the Madonna della Seggiola (Madonna of the Chair) in order to copy it—and noted later that it was returned a bit damaged! The Immensity of the universe” in the Art of Giovanna Garzoni, Warp and Weft: Women as Custodians of Jewish Heritage in Italy, Hearts of Our People: Native Women Artists, ‘Bright Souls’: A London Exhibition Celebrating Mary Beale, Joan Carlile, and Anne Killigrew, Plautilla Bricci (1616–1705): A Talented Woman Architect in Baroque Rome, Two of a Kind: Giovanna Garzoni and Artemisia Gentileschi, Sister Caterina Vigri (St. Catherine of Bologna) and “Drawing for Devotion,”, Orsola Maddalena Caccia (1596–1676), Convent Artist, Rediscovering the Once Visible: Eighteenth-Century Florentine Artist Violante Ferroni, The Priceless Legacy of Artemisia Gentileschi: A Curator’s Perspective. Gallerie degli Uffizi, Florence. Science, art and natural history are intertwined in the Lister family’s monumental Historiae Conchyliorum, Cassiano dal Pozzo’s paper museum, consisting of thousands of drawings, attempted to encapsulate the knowledge of his time, The British artist was as devoted to cultivating flowers as he was to painting them, as this colourful exhibition reveals, Your email address will not be published. Turning north again, from 1632 to 1637 she worked in Turin, in the employ of the Duke of Savoy. The charming portrait of a miniature English lapdog next to a Chinese cup (of the type used for drinking chocolate) a slice of bread and a (sweet?) She was encouraged to dedicate herself to botanical painting and although her reputation chiefly now rests on the still lifes created in this context, her output was very varied, including portraits, miniatures, depictions of sacred and mythic themes, calligraphy and copies of Old Masters. Such self-portraits were a visual tour de force that testified simultaneously to the skill of the painter as a portraitist, to her accomplishment as a musician, and to her unusual status as a female in a profession that was largely held by men. Plate with Cherries, a Bean Pod and a Bee (c. 1655–62), Giovanna Garzoni. Dr. Sara Matthews-Grieco is Professor of History & Women’s and Gender Studies, Syracuse University, Florence (1987–2017). ‘The Greatness of the Universe in the Art of Giovanna Garzoni’ is at the Palazzo Pitti, Florence, until 28 June. The third and most recent generation of scholars working on women artists are talented graduate students, such as Dana Hogan, whose meticulous research is evidenced in many of the more developed commentaries on individual paintings. A special space was created in the Villa of Poggiolo Imperiale after Garzoni’s death to house her still-lifes and other paintings, small bronze and ivory sculptures, colourful porcelain from Asia, and exotic drinking goblets made of a nautilus shell, coconuts, and a special Mexican clay that cools liquids through evaporation. Flies, butterflies, snails, grasshoppers and occasionally birds land on the tables where her subjects are laid out for scrutiny. Florence, Gallerie degli Uffizi, Gabinetto dei Disegni e … The exhibition catalogue—”The Immensity of the universe” in the Art of Giovanna Garzoni, edited by Sheila Barker—is available for order through Casa Editrice Sillabe. This was a jewel of a show. While her role in the evolution of scientific illustration is widely acknowledged, Giovanna Garzoni is less familiar as an illustrator of geographical fantasy in the age of the Baroque.
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