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Giovanna Garzoni, self-portrait Still Life with Bowl of Citrons, late 1640s, now in J. Paul Getty Museum. [1] Giovanna Garzoni (1600 – February 1670) was an Italian Baroque painter. She began her career painting religious, mythological, and allegorical subjects but gained fame for her still life botanical subjects painted in tempera and ...
Fede Galizia (1578–1630), pioneering still life Renaissance painter; Federica Galli (1932–2009), printmaker; Giola Gandini (1906–1941), painter; Giovanna Garzoni (1600–1670), Baroque painter; Francesca Genna (born 1967), printmaker; Artemisia Gentileschi (1593–c.1656), Baroque painter; Costanza Ghilini (1754–1775), amateur painter ...
Portrait of Infanta Isabella Clara Eugenia is a 1599 oil-on-canvas painting of Isabella Clara Eugenia by the Italian painter Sofonisba Anguissola, identified in 1992 by Maria Kusche. [1] Owned by the Museo del Prado , it currently hangs in the Spanish Embassy in Paris.
Venus and the Three Graces Presenting Gifts to a Young Woman, also known as Giovanna degli Albizzi Receiving a Gift of Flowers from Venus (Italian: Venere e le tre Grazie offrono doni a una giovane), is a fresco painting by the Italian Renaissance painter Sandro Botticelli of circa 1483–1486.
It represents a girl in her early teens, depicted in profile, the usual way in which Italian artists of the 15th century portraited women. The girl's dress and hairstyle indicate that she was a member of the Court of Milan during the 1490s. [1] If it truly is a Renaissance work, it would have been executed in the 1490s according to Kemp and ...
Genre painting (or petit genre), a form of genre art, depicts aspects of everyday life by portraying ordinary people engaged in common activities. [1] One common definition of a genre scene is that it shows figures to whom no identity can be attached either individually or collectively, thus distinguishing it from history paintings (also called ...
Girl Running on a Balcony is a 1912 painting by Giacomo Balla, one of the forerunners of the Italian movement called Futurism.The piece indicates the artist's growing interests in creative nuances which would later formally be realized as part of the Futurist movement.
The art historian Aby Warburg first suggested the painting was an idealised portrait of Simonetta Vespucci. This challenged a previous interpretation, put forward by German scholars, according to which the painting describes an ideally beautiful young woman mythologised as a nymph or goddess, a view reflected in the title given it by the Städel.