Elisabetta Sirani: Baroque Artist, Teacher, and Buisness Women
Elisabetta Sirani, 1638–1665, was an artist during the Baroque era who lived her short life in Bologna, Italy. She was born into a family of talent and an area of Italy that accepted women artists; many famous female artists, Caterina de Vigri, c.1413-1463, Properzia de' Rossi, c. 1490-1530, and Lavinia Fontana, 1552-1614. Giovanni Andrea Sirani, Elisabetta's father, was a successful painter, art teacher, and President of an academy of life drawings. He had attended the School of Bologna, studying under the well-known early Baroque-era painter Guido Reni. Her father initially did not want his daughter to make a living as a professional painter. Count Carlo Cesare Malvasi, a biographer and art historian, saw Elisabetta's potential to become one of the greatest painters in Italy. He pressured Giovanni to train her in the arts and as a painter, and he did.
In 1655 at 17, Elisabetta took over her father's art studio when he could no longer use his hands to paint after contracting gout. By the time she was 20, she had painted over 90 artworks. Elisabetta was part of the rise in merchant classes; she financially supported herself and five family members by successfully selling her paintings as an independent retailer. One talent she possessed was the ability to produce exquisite works of art in record time. Residents from Bologna and around Europe visited her studio to witness Elisabetta's talent and ability to paint beautiful artwork swiftly. Noble, wealthy, and royal patrons, including Grand Duke Cosimo III de Medici, purchased Elisabetta's paintings. She was one of the most well-known and loved artists in Europe, despite living her life entirely in Bologna. Elisabetta died suddenly in 1665 at 27; she had crafted over 200 paintings and hundreds of drawings in the short time she ran her art studio. Bologna's residents were deeply saddened by her passing; they put on an elaborate funeral to celebrate her life.
Elisabetta's artwork is beautiful; her dramatic historical paintings of women's lives were entertaining to view. I would enjoy having a coffee table book full of her artwork and stories about the women she painted rather than hanging them as wall art. But more so, Elisabetta's life story interested me in the accomplishments she made in her short life. She was respected as a successful artist and business owner, a significant achievement as a woman of that time.
Elisabetta's most notable achievement, which stood out the most, was the first women's art academy she opened in Europe outside of a convent. She tutored young women who were excluded from learning painting techniques; it was her way of giving back to Bologna's community, which admired and celebrated her artwork. Like Elisabetta, teaching is what I am passionate about; I love to see students' face light up when they figure out something they are struggling with and the confidence they gain from working hard to learn. I am enrolled in the Elementary Education program at UAF; I have worked as a monitor and substitute teacher at my school for five years. I am excited to be a certified teacher with my own classroom in the next year or so.
Judith and Holofernes, Elisabetta Sirani c.1660
Holofernes was on a tour of siege; it all ended in Bethulia, where the beautiful widow Judith resided. Judith spent three days aiding Holofernes in a plan to take down the Hebrews; he decided to seduce her on the third night. That same evening after leaving the camp to attend evening prayers, Judith and her maidservant carried Holofernes head in a food basket.
Cleopatra, Elisabetta Sirani c. 1663-1664
Elisabetta's portrait of Cleopatra leaves out both of her well-known husbands and depicts her as a charming, charismatic Goddess she believed herself to be.
Virgin and Child, Elisabetta Sirani 1663
Mary is portrayed as a real young mother, not the Queen of Heaven. In October 1994, the artwork was picked for a Christmas holiday stamp series; her painting was the first historical work by a woman artist to be printed on a stamp.
Portia Wounding Her Thigh, Elisabetta Sirani 1664
In a scene from Roman history, Portia Cantonis, the wife of Brutus, stabs her
leg to prove to her husband that she can withhold physical pain and keep his deep dark secrets.
The most famous altarpiece of the 13 Elisabetta crafted was for the Church of the Certosini in Bologna.
The later sixteenth and seventeenth century was a momentous time for female painters in Bologna; the city turned out many female artists due to the progressive attitude towards women's rights. Trained by her father in the high-Baroque classic styles of Guido Reni, Elisabetta used strong contrast between light and dark techniques with rich colors to craft many oils on canvas paintings ranging from portraits, historical drama, religion, and allegory, mainly portraying women. The greatest gift she gave back to her community of Bologna was sharing her incredible talents with any woman who wanted to learn how to paint. Elisabetta was one the most successful artists of the Baroque era; in her short life, she dominated as a painter, teacher, and business women.
I enjoyed the self-portraits Elisabetta crafted of herself. I chose to analyze a "selfie" vs. other paintings because the biography of her life is what drew me to explore her artwork further. Elisabetta was hardworking, humble, and well-loved by her community in Bologna; Self-Portrait as Allegory depicts her traits beautifully.
Value: Elisabetta's translucent porcelain skin shines through the shadowed tones on her arms and the side of her face. Half of the wall behind her is disconnected from the light, with a silhouette of a figure popping. Lightness brightens the other side of the wall, Elisabetta's hair casting a shadow behind her. The light-to-dark with popping bold and rich colors was a popular technique used in the Baroque Era. Elisabetta casts darkness behind her because the show star is her, the artist. While in the spotlight, supporting characters loom behind; viewers are initially drawn to her before finding objects supporting her.
Color: A shiny gold shawl with ruby red accents is draped over Elisabetta's cornflower blue gown with sleeves of golden luster and stark white. She is dressed in a mixture of a royal queen and a simple peasant girl, symbolizing her as hardworking and humble but proud to show success and wealth. Behind her, a shadowy wall fades to pitch blackness that illuminates translucent golden skin tones brightened by lightness. A contour of a simple white statue fights for Elisabetta's spotlight; it remains in the shade. A dark paintbrush in her porcelain hand brushes against a canvas, crafting another masterpiece; the other holds a pallet of the finest oil paints.
Form: Elisabetta's self-portrait catches the viewer's eye as the central point of the painting. Her features are prominent and meant to be the primary focus but not on a flat wall. Objects on either side form a triangle giving the viewer's eye an illusion of 3D. Baroque techniques included realism and dramatic effect; Elisabetta's eyes are focused, starting intensively, possibly following the subject of the subsequent work of art.
Renaissance vs. Baroque Era Comparison
The Madonna Contemplating the Baby Jesus, Elisabetta Sirani 1664
Solly Madonna, painted by Raphael during the Renaissance era, and The Madonna Contemplating the Baby Jesus, painted by Elisabetta Sirani during the Baroque era, are similar in terms of the influence of the Catholic Church in their works. Still, different styles of the periods are noticeable. The Renaissance era was moving towards more emotion in the faces of their subjects, while Baroque was about dramatic realism. In Raphael's painting, Madonna concentrates on what she reads with little expression; the child looks uninterested as he looks at the book. In Elisabetta's painting, the Madonna looks down on her peacefully sleeping child like a new tired mother, but with a hint of a smile. The style of Raphael's painting looks more cartoonish; the features are rounded and not realistic the baby's lower body is way out of proportion with his upper. Elisabetta's Madonna has much stronger features that make her look realistic; the shading on her face and the sharper lines define her nose, chin, and jawline. The baby has genuine rolls, a proportionate body, and more notable facial features that give it a natural appearance. Renaissance paintings were brighter in earth-tone colors, while Baroque used a dark-to-light technique with bold rich colors. Elisabetta's artwork has a dark backdrop that fades into a golden hue surrounding the Madonna and the child. The Madonna casts shadows over the child because she is leaning over him. The clothing she wears and the blanket holding the baby are bold colors. In contrast, Raphael's painting has vibrant blue, red, and green tones with an earthy brightness, colors you would see in a natural setting.
Works Cited
Andrews, Evan. “10 Little-Known Facts about Cleopatra.” History.com, A&E Television Networks, 12 Aug. 2015, https://www.history.com/news/10-little-known-facts-about-cleopatra.
Bohn, Babette. “The Antique Heroines of Elisabetta Sirani.” Renaissance Studies, vol. 16, no. 1, Mar. 2002, pp. 52–79., https://doi.org/10.1111/1477-4658.t01-1-00004.
Enger, Reed. “Judith and Holophernes.” Obelisk Art History, 2022, https://arthistoryproject.com/subjects/people/judith-and-holophernes/.
Fitch, Erica. “What Are 5 Characteristics of Baroque Art?” Painting Geek, 26 July 2022, https://www.paintinggeek.com/what-are-5-characteristics-of-baroque-art/.
Modesti, Adelina. “Elisabetta Sirani, Bolognese Woman Painter, Printmaker & Virtuosa.” Art Herstory, 17 May 2022, https://artherstory.net/elisabetta-sirani/.
NMWA. “Virgin and Child: Artwork.” NMWA, 9 Aug. 2021, https://nmwa.org/art/collection/virgin-and-child/.
Gleeson, Maura. “Elisabetta Sirani, Portia Wounding Her Thigh (Article).” Khan Academy, Khan Academy, https://www.khanacademy.org/humanities/renaissance-reformation/baroque-art1/baroque-italy/a/elisabetta-sirani-portia-wounding-her-thigh.
“Madonna and Child by Raphael.” Joy of Museums Virtual Tours, 29 Oct. 2020, https://joyofmuseums.com/artists-index/raphael/madonna-and-child-by-raphael/.
First off, wonderful job! These pictures were absolutely breathtaking. What appeals to me was the dramatic realism used in your art pieces you chose. I also agree, during the Baroque times, they tended to use a dark-to-light technique with bold rich colors. I really enjoyed this because it's a bit more dramatic and sharp, with the use of dark backdrops that fades into a golden hues. Overall, great job!
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