Join me each week for Friday Face OFF, Sunday in the Art Room and Monster Monday
Sunday, February 22, 2026
Sunday in the Art Room
Welcome to
Today is for artists that
create in ANY medium to come on by and just talk art. Write a post about
what's on your mind in the art world. It's a place to ask questions on
your blog where other's can hopefully answer. Or share your videos, your
techniques, tools or even what type of camera you use. So, you say you
can't draw but you can write.... that's art baby! AI creations are
welcome as well. Since this type of art is taking off to main stream.
Let's say you think you are in no way artsy. But you love art. Show
murals, historical art, your friends or kids art and talk about it.
I would like this to be an all inclusive way for artist to share, whatever.
My only rule? Criticism with kindness.
If someone asks to have their art critiqued it must be done with generosity and consideration.
This is a place of encouragement and inspiration.
Today I want to share with you the woman artist who made it possible for all other women artist.
Her name is Sofonisba Anguissola
This is just one of her self portraits.
During the Italian Renaissance, women artists did not have the
same access to art education as men. Sofonisba Anguissola, however,
was very lucky to receive artistic training and later achieve a
successful international career. She paved the way for many other female
artists who would later follow in her footsteps.
Sofonisba Anguissola was born in 1532 in the city of Cremona, Northern
Italy. Her father, Amilcare, encouraged both her and her sister to train
with artist Bernardino Campi. Anguissola herself appears often in her
own works and there is known to be at least twelve self-portraits by the artist
(seven are believed to have been lost). Her self-portraits form a series
that was larger than those by either Dürer or Rembrandt. In one of her
most famous paintings, the artist paints herself on an easel in the
process of painting Madonna and Child. In Renaissance artworks, the
female figure would normally be the subject of the painting. Here
Anguissola establishes herself as the creator too.
She was a rule breaker
In the 16th century, art was a predominantly male occupation. At that
time, Sofonisba Anguissola did not comply with roles that were
traditionally assigned to women, such as a mother and a homemaker.
Instead, as a strong and independent woman, she decided to fulfill her
ambition of becoming an artist instead. By doing this, she paved the way
for other female artists such as Lavinia Fontana who followed in her footsteps and also went on to paint portraits of the nobility and history paintings.
In an unusual self-portrait from 1559, Anguissola painted herself
being painted by her teacher Bernardino Campi. This work can be called a
self-portrait in the sense that it is a painting of the artist and
Anguissola is the creator. However, within the scene, the painter we can
see is Campi. The painting provides a commentary on gender roles
assigned throughout art history – the male as the creator, and the
female as the subject. Here, Anguissola breaks the rules and reverses
these roles.
The artworks created by her were not limited to the genre of the
self-portrait. Anguissola demonstrated that she was just as capable of
producing other types of art as some of the most celebrated male artists
of her time. For example, she painted a number of portraits for Philip
II’s Spanish court. She was a tutor to his wife, the consort Queen of
Spain, Elisabeth of Valois. She balanced both the jobs of being a tutor
to the consort and being a successful artist at the same time.
In these portraits, she proved her worth as a major court artist and
established that her talent was equivalent to contemporary male court
artists. However, in some ways, the role of a court artist in Spain
constrained her artistic career. Anguissola produced these artworks to
earn a living, under the guidelines of a strict contract. Her
self-portraits, on the other hand, can be seen as examples of her own
self-expression and freedom as an artist.
Sofonisba Anguissola, Portrait of Marquess Massimiliano Stampa, 1557, The Walters Art Museum, Baltimore. ArtStor digital library.
Overall, Anguissola achieved great international fame during her career.
Her success was extraordinary, not just for a female artist at that
time, but exceptional for an artist in general. When she was 92, a
Flemish painter in English court, Anthony van Dyck painted a portrait of her, showing her in her old age.
Sir Anthony van Dyck, Sofonisba Anguissola, 1624, National Trust House in Knole, UK.
Female artists of the Italian Renaissance, like Anguissola, have only
received a small proportion of the recognition that they deserve as
artists. Traditionally, female artists have been excluded from the
“canon” of art history – the established timeline of key artists and art
movements throughout history. But this began to change with the
introduction of feminism in the 1970s. Perhaps most famously, Linda Nochlin’s article Why Have There Been No Great Women Artists? highlighted their exclusion.
The exhibition, A Tale of Two Women Painters: Sofonisba Anguissola and Lavinia Fontana,
at the Museo Nacional del Prado in Madrid (Oct 2019–Feb 2020) displayed
a number of works of these two pioneering female artists for the first
time, celebrating their success. The first room was dedicated to
self-portraits by both. Amongst the artworks displayed elsewhere in the
exhibition was The Chess Game. This painting shows the artist’s
sisters (Elena, Minerva, and Europa) playing a game of chess. An
unusual subject in the 16th century, the painting provides an insight
into a domestic setting. It is a beautiful image of the bond between
sisters. In the background, there is a landscape. The figure to the
right has been interpreted as the family’s maid watching the girls play
the game.
Sofonisba Anguissola, The Chess Game, 1555, The National Museum in Poznań. ArtStor digital library.
Anguissola was determined to pursue a successful career in the arts.
Today, aspiring female artists are given equal access to professional
training alongside men. And it was artists like Anguissola, living
almost 500 years ago, who proved that women should be allowed to work as
artists too. Sofonisba Anguissola was an extremely inspirational woman,
artist, and rule-breaker.
Linda Nochlin. “Why Have There Been No Great Women Artists?” In Women, Art, and Power and Other Essays, edited by Linda Nochlin, 145-177. New York: Routledge, 1988
Leticia Ruiz Gomez. A Tale of Two Women Painters: Sofonisba Anguissola and Lavinia Fontana. Madrid: Museo Nacional Del Prado, 2019
The above information and photos are originally from
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