Category: Making Her Mark

Making Her Mark – Self Portraits III

On By ResaIn Making Her Mark146 Comments

Welcome back to our Self Portraits series! I’m your host, Resa, with co-host Rebecca Budd, curator of Chasing Art. Today We are discussing an artist from the 17th century, Elisabetta Sirani.

Resa – So Rebecca, after all you’ve learned, and passed on to me, I’ve come to think Elisabetta was Bologna’s rockstar in the early mid 1600’s. Sayest thee what to that?

Rebecca – I agree wholeheartedly, Resa. Elisabetta Sirani’s exceptional talent and prolific body of work cement her status as a celebrated artist of her time. Despite the challenges she faced as a female artist in a male-dominated field, Sirani’s enduring legacy as a pioneering Baroque painter reflects her rockstar-like influence on the art world of her era.

Over her 10-year artistic career, Sirani demonstrated exceptional productivity, creating over 200 paintings, 20 etchings, and an extensive collection of drawings. I marvel at her ability to create a life/work balance. At the young age of 19, she took on the responsibilities of managing her father’s workshop, supporting her family, and establishing an art academy to mentor and teach women artists. Elisabetta Sirani was a true rockstar of Bologna in the 17th century. In my opinion, she continues to be a rockstar today!

Resa – Well then, let’s see what you discovered!

Master of Chiaroscuro

Elisabetta Sirani was an Italian Baroque painter born in Bologna in 1638. She was the daughter of the painter Giovani Andrea Sirani, who recognized and nurtured her talent from an early age. Sirani’s artistic skills flourished, and she became known for her exceptional talent in her short life.

Despite facing challenges as a female artist in a male-dominated field, Sirani achieved great success and recognition during her career. She was prolific, producing a large body of work that included historical and biblical scenes, portraits, and allegorical paintings. Sirani’s mastery of chiaroscuro (the treatment of light and shade in drawing and painting) and her ability to depict emotion and narrative in her works garnered admiration from her contemporaries and art enthusiasts.

The Virgin Crowned by Christ Child with Roses

A Pioneering Legacy

Elisabetta Sirani’s legacy extends beyond her remarkable talent as a painter. As the successor of her father’s workshop, she also played a crucial role as a teacher, notably contributing to the development of women artists during the Renaissance period. In addition to training her sisters Barbara and Anna Maria, she also instructed at least twelve other young women at the school she established. This pioneering initiative marked the first school of painting for women in Europe outside of a convent, embracing inclusivity regardless of the women’s artistic and social backgrounds.

Elisabetta Sirani’s legacy endures through her remarkable paintings and the influence she had on future generations of artists. She remains celebrated as a pioneering female artist of the Baroque era, showcasing remarkable talent and determination in the face of societal norms.

Resa – “Making Her Mark” even had Elisabetta’s working drawing/study for the above painting. It’s a wonderful complete experience to see both.

Rebecca– I believe the painting, “Virgin Crowned by Christ Child with Roses” is all about love. Elisabetta Sirani imparts a compelling depiction of Mary as a relatable and tender young mother, diverging from the traditional portrayal of the remote Queen of Heaven. In this painting, Mary wears a turban associated with peasant women in Bologna, creating a down-to-earth portrayal. Her adoring gaze at the playful Christ child on her lap exudes a sense of genuine maternal love. Notice how the brushwork is highlighted in the textured representation of the Virgin’s white sleeve, emphasizing its rough and homespun quality. Elisabetta Sirani, with this tender and intimate moment of affection, offers a humanizing perspective of Mary and Jesus.

On the left :

The Virgin Crowned by Christ Child with Roses – 1663 – (red wash with grey chalk on paper)

On the right:

The oil on canvas painting in the same year.

An Untimely Death

Tragically, Eliabetta Sirani’s life was cut short when she passed away at the young age of 27 in August, 1665. Her untimely demise sparked controversy snd speculation. Following her sudden passing, suspicions arose, leading to the trial of her maidservant, Lucia Tolomelli, who was accused of poisoning the talented artist. The circumstances surrounding Sirani’s death led to diverse conjectures, with some attributing it to love-sickness due to her unmarried status, while others cited stress as a contributing factor.

It is widely believed that the true cause of Sirani’s demise was the onset of peritonitis following a ruptured peptic ulcer. This unfortunate event may have been exacerbated by the significant stress she experienced, particularly after being charged with providing for her entire household.

The controversy and diverse interpretations surrounding her passing have added intriguing layers to the legacy of Elisabetta Sirani, portraying a life marked by exceptional talent, determination, and the complexities of the era in which she lived.

A Rockstar Funeral

Elisabetta Sirani’s elaborate funeral reflected the deep respect and admiration held for her in Bologna. The grand ceremony featured an enormous catafalque (a decorated wooden framework supporting
the coffin) adorned with a life-sized sculpture of the esteemed artist, as depicted in Malvasia’s biography.

Orations and music composed in her honor by prominent figures from Bologna added a solemn and dignified atmosphere to the proceedings. Following this tribute, she was laid to rest in the Basilica of San Domenico, Bologna, where she joined her father’s teacher, Guido Reni, in a shared tomb

This final resting place solidifies her enduring legacy alongside revered artistic influences, commemorating her exceptional talent and remarkable contributions to the art world.

The Personification of Music

Resa – Rebecca, of all the paintings in the “Making Her Mark” exhibition, the Elisabetta Sirani allegorical painting title The Personification of Music was, and remains my favourite. Apparently she painted it in exchange for music lessons. I think she belongs in The Twenty-Seven Club, don’t you?

Rebecca – I did not know that Elisabetta Sirani exchanged her paintings for music lessons, but I am not surprised, given her proficiency as a musician in addition to her exceptional talent as a painter. This exchange speaks to her versatile creativity and passion for various art forms, further solidifying her legacy as a remarkably talented individual in the Baroque era. I agree – she belongs in The Twenty-Seven Club.

Resa – Admittedly I am smitten by this artist. I am also wild about that fact that you are here on this journey through these profiles in exceptionality. Mille Grazie, Rebecca!

Rebecca – Resa, your dedication to artistic endeavours and your profound belief in the power of creativity to enrich our world have truly inspired me. Thank you for including me on this extraordinary journey of self-discovery through Making Her Mark. I look forward to what comes next…
“Mille grazie caro amico per averci invitato a unirci virtualmente alla tua Art Gallery of Ontario. Fino alla prossima volta.“

You can also visit Rebecca by listening in on some of her fabulous Tea Toast and Trivia podcasts.

Click the above banner to view & link to Rebecca’s sources. not included in the body of text!

Photos taken by Resa © – May 14, 2024

Art Gallery of Ontario, Toronto, Canada

Making Her Mark – Self Portraits II

On By ResaIn Making Her Mark169 Comments

Resa – Welcome back to “Making Her Mark” – Self Portrait Series! I’m your host, Resa with special guest host Rebecca Budd – curator of Chasing Art.

Resa – So Rebecca, today we’re shining the spotlight on another accomplished female artist once buried by history, Amalia von Königsmarck.

I “fell in love” with our last artist, Sarah Biffen. Amalia von Königsmarck does not inspire the same “fell in love” in me, yet hers is nonetheless a valuable contribution to the world of art, and art remembering us. Can you speak to that?

Rebecca – Amalia von Königsmarck’s contribution to the world of art is indeed remarkable, especially considering the complex, perilous and politically charged environment in which she lived. The intricate dynamics of the royal court, especially during the Great Northern War, as well as her spouse’s involvement in the service of Augustus II the Strong, led to dire consequences. Given her status as a dilettante painter and her involvement in painting as a hobby or pastime, it is likely that her primary motivation for creating art was personal enjoyment and creative expression.  I believe that in the midst of uncertainty, Amalia chose to follow her creative spirit, which is a reminder to me that art generates positive outcomes.  That thought resonated with me when I viewed your photographs.

Resa – Okay, now I’m “fell in love”with Amalia, too! So, Rebecca, let’s check out the details on what you’ve said and what else you have discovered about Amalia von Königsmarck!

Amalia von Königsmarck – A Dilettante Painter

Amalia von Königsmarck (1663–1740) hailed from a distinguished German-Swedish noble family. Her paternal grandfather, Field Marshal Hans Christoff von Königsmarck, notably served on the Swedish side in the Thirty Years’ War and was subsequently honored with the title of a Swedish count. Meanwhile, her father, Conrad Christoff von Königsmarck, held notable roles in the Swedish possessions of Bremen and Verden, among others.

Amalia von Königsmarck married Carl Gustaf Lewenhaupt, a Swedish nobleman, in 1686. Their union was a significant aspect of her life amidst the complex dynamics of the royal court.

Allegory with Self Portrait and Profile Portrait of Queen Eleonora – 1689

Resa – The above photo I took is from the “Making Her Mark” exhibit. I was lured in by its richness. This painting was not behind glass, and on close inspection I gasped when I saw the 335 year old cracks in the oils. I thought – Rebecca would love these cracks.

Rebecca – I do love those cracks, Resa!!  This is a 335-year-old painting!!  I believe that those delicate cracks add to overall aesthetic appeal of the artwork by providing a sense of history and authenticity. The cracks, also known as craquelure, can be seen as a unique feature that showcases the passage of time and the natural aging process of the artwork. I find that the presence of cracks enhances the texture and visual interest of the painting, giving it a distinct character that sets it apart from newer, flawless pieces.

Amalia von Königsmarck’s Artistic Pursuits

Amalia von Königsmarck was known for her literary and intellectual achievements as well as for her artistic endeavors. As a member of the royal court, she delved into the world of painting and portrayed various notable figures of her time. One of her renowned paintings is a self portrait dating back to 1688, offering a personal glimpse into her life and artistic expression.

In addition to her accomplishments in visual arts, Amalia participated in the amateur theatre of the royal court, an endeavor encouraged by Queen Ulrika Eleonora of Sweden. This involvement in the theatre highlighted her multifaceted interests and contributions to the cultural life of the royal court.

In the painting, Amalia holds her portrait of Queen Ulrika, a bold nod to her relationship with the queen.

One of her hands holds paintbrushes, depicting herself as a painter. (see full painting)It is the first known image of a Swedish female painter.

Although Amalia had studied under David Klöcker Ehrenstrahl, a Swedish nobleman and portrait painter, Amalia was a dilettante painter. This refers to an individual who engages in painting as a hobby or pastime, without pursuing it as a serious or professional occupation.

Dilettante painters typically approach art with enthusiasm and interest but may not have undergone formal training or dedicated extensive time and effort to develop their skills to a professional level. Their works are often created for personal enjoyment or as a form of creative expression, without the intention of displaying or selling them in a professional art context.

Amalia and the Great Northern War

In 1695, amidst the intricate dynamics of the royal court, Amalia Lewenhaupt (Königsmarck) persuasively influenced her spouse to enter into the service of Augustus II the Strong, who was at that time engaged in a romantic relationship with her sister Aurora. However, this decision led to dire consequences, as her spouse faced the confiscation of property and a sentence of death in his absence by Charles XII of Sweden in 1703, during the tumultuous Great Northern War. Tragically, her spouse passed away in exile in Hamburg, Germany, in the same year.

The other 2 women in this allegorical portrait:

Left – winged and holding a trumpet is likely Fama, goddess of rumour and fame.

Right – The woman points to the queen while gazing out of frame.

Resa – So Rebecca, I add the thought here that the pointing indicates that Amalia is saying that Queen Eleonora is of rumour and fame?

Rebecca – While the specific meaning of the painting, “Allegory with self-portrait and profile portrait of Ulrika Eleonora the Elder” is open to interpretation, the inclusion of the self-portrait alongside the profile portrait of the queen suggests a significant personal connection between Amalia and Queen Ulrika Eleonora. The portrayal may convey Amalia’s admiration for the queen and her acknowledgment of the queen’s reputation and prominent status. Queen Ulrika Eleonora was renowned for her religious devotion, patience, mild demeanor, and charitable nature, which endeared her to the public. Her modest beauty and dignified presence further enhanced her image as a symbol of hope and lasting peace. Embraced with enthusiasm by the public, she was perceived as a beacon of optimism, and her personal merits bolstered her popularity, solidifying her status as a beloved and influential figure in her time.

Amalia’s Return to Sweden

Following the upheavals and challenges she encountered, Amalia Lewenhaupt eventually journeyed back to Sweden in 1722. Notably, her return to her homeland was accompanied by the fortune-teller Höffern, perhaps seeking guidance and solace after the tumultuous events she had endured.

In 1740, at the age of 76, Amalia Lewenhaupt peacefully passed away in Övedskloster, thereby transcending the trials and tribulations of her lifetime. Her final years were marked by the tranquility of her surroundings, providing a contrast to the tumultuous events she had previously experienced.

Regrettably, Amalia Lewenhaupt’s poignant story was further shadowed by the tragic fate of her firstborn son, Charles Emil Lewenhaupt, who faced condemnation for treason and was ultimately executed in 1743, thus adding another layer of sorrow to her enduring legacy.

Resa –  Rebecca, I can’t thank you enough for being here with me to present Amalia von Königsmarck. It’s somewhat jolting to realize that she was on earth 361 years ago.

Rebecca – Thank you, Resa, for this extraordinary opportunity to collaborate with you on “Making Her Mark”. It is truly fascinating to unravel the multifaceted contributions of remarkable women from past centuries and to witness the enduring impact they have on the world of art and culture. These women have left a profound legacy that continues to inspire and shape our artistic landscape today. By delving into their lives and artistic endeavors, we gain invaluable insights into the richness of history and the enduring influence of these visionary individuals.

Thank you again and again Rebecca!

You can visit Rebecca on Chasing Art! Also for links on the research, just click on the above banner!

Making Her Mark – Self Portraits I

On By ResaIn Making Her Mark171 Comments

Welcome to the “Making Her Mark” Self Portraits Series! How better can we get to know some of the amazing female artists, from 1400 – 1800, than to introduce them through their own visions of self.

I have invited Rebecca Budd, curator of the online gallery – Chasing Art – to join me in unearthing more of the history of these artists.

Resa: Welcome Rebecca!

Rebecca: – Resa, I was thrilled to receive your invitation to participate in the Self Portraits segments of your “Making Her Mark” virtual event. What better way to begin this journey of discovery than with the artist, Sarah Biffin. I confess this was the first time I heard her name, which can be spelled either Sarah Biffin or Sarah Biffen.

Resa: So Rebecca, now that you’ve heard her name, I’m excited to hear what you have discovered.

The Remarkable Journey of Sarah Biffin

Born with a disability, Sarah Biffin’s remarkable journey from sideshow attraction to an artist patronized by royalty remained little known until recent years. Despite her initial challenges, her early talent blossomed into outstanding artistic ability, leading to recognition and patronage by the aristocracy. Her story serves as a true testament to the transformative power of opportunity and mentorship, showcasing the incredible potential that lies within each individual.

Born on October 25, 1784 in East Quantoxhead, Somerset, Sarah was the third of five children born to Henry Biffin, a farm labourer who later became a shoemaker, and Sarah Perkins. The baptism register noted that Sarah was born with a rare condition known as phocomelia, rendering her without arms or legs. At the age of 25, she was reported to be approximately 3 feet tall.

When she was 20, Sarah was exhibited as an attraction by a travelling showman at fairs throughout England. Even without formal training, crowds were impressed by how she used her mouth to sew, write and paint watercolours and portrait miniatures.

And then…. serendipity smiled and transformed Sarah’s destiny.

Sarah Biffin’s life was undeniably impacted by a twist of fate. It was at the St Bartholomew’s Fair of 1808 that George Douglas, 16th Earl of Morton (1761-1827) noticed her. This serendipitous encounter changed the trajectory of Sarah’s life in a profound and inspiring manner.

His sponsorship of Sarah Biffin, an artist born with a rare disability, enabled her to receive art lessons from renowned painter William Craig of the Royal Academy of Arts. Notably, George Douglas is remembered for his patronage of the arts and his support of individuals with exceptional talent.

As a result of the Earl of Morton’s support, Sarah’s artistic skills developed considerably. By the time she reached her 30s and 40s, she had become an extraordinarily talented artist, often considered to be as good as the best portrait miniaturists of her time. This period marked a significant ascent in her artistic prowess, solidifying her legacy as a remarkable and influential artist.

Patronage, Marriage & Legacy

Sarah’s exceptional artistic talent earned her prestigious commissions, including from the Royal Family, leading to her widespread popularity and acclaim. This royal patronage elevated her status and contributed to her flourishing career as an artist.

On September 6, 1824, Sarah entered into marriage with Stephen Wright in Kilton, Somerset. Despite the eventual end of the marriage, Sarah continued to exhibit under her married name in the years that followed.

Sarah’s influence extended beyond the realm of art, as she was prominently featured in the works of renowned author Charles Dickens. Dickens referenced her in several literary works, including “Nicholas Nickleby,” “Martin Chuzzlewit,” “Little Dorrit,” and “A Plated Article,” underscoring her cultural significance and enduring legacy.

Sarah’s Last Self-Portrait

Resa – Rebecca, what an honour it is to have seen this portrait in real life. I took one close up within the glass free board frame, and one how it was on the wall. It’s a real treat to not have to look through glass. I hope my photography does it justice.

Rebecca – Your photos allowed me to step through the screen and join you virtually at the AGO.  It was as if I were viewing the paintings in person. 

Resa – Rebecca, I am so happy you are here! Thank you for joining me!

Rebecca – Thank you, Resa, for the invitation to join you on this profound “art” journey. I am thrilled to be sharing “Making Her Mark” with you.  Thank you for your extraordinary vision of creativity within our complex, evolving world. You have redefined the art world through your unparalleled leadership, emphasizing compassion and hope as guiding principles. Your profound understanding of art’s transformative power has inspired me and countless individuals, fostering a deeper appreciation for the inherent beauty and significance of artistic expression.

Resa – Thank you, Rebecca! Graciously and humbly.

I hope you all enjoyed this close up feature on Sarah Biffen. A million thank you’s to Rebecca Budd for joining me, with her fabulous research, in this Self Portraits series. Rebecca and I will be back with further instalments highlighting other women who made her mark with art.

Click on the banner above to view some of the site links Rebecca found and used for her research. The Artnet link reveals many of Sarah’s works. Unfortunately none are for sale

Visit Rebecca at CHASING ART! Here you will also find links to her other blogs and Podcast Tea, Toast and Trivia

Photos of Sarah Biffen’s self portrait taken by Resa – May 14, 2024

Art Gallery of Ontario, Toronto, Canada

Making Her Mark – Overview

On By ResaIn Making Her Mark, Original Art95 Comments

I saw the most inspiring show at the Art Gallery of Ontario.

Elisabetta Sirani (Italian 1638-1665)

Personification of Music – 1659 – oil on canvas – Painted in exchange for music lessons.

It was all European female artists from 1400 – 1800. It included 230 pieces of art: oils, watercolours, chalk, etchings, sketches, tatting, embroidery, quill work and more.

Themes included portraits, self portraits, religion, nudes, still life, nature, home decor and more

Josefa Ayala (Portuguese circa 1630 – 1684)

The Christ Child as Pilgrim – 1676 – oil on canvas

It is the AGO’s policy that we are allowed to take pics (no tripods, flash or other professional equipment), that we may post on social media and that we do not make money from said photos.

Sarah Stone (English circa 1760 – 1844)

A Blue and Yellow Macaw circa 1789 – watercolour, watercolour glaze & black ink border on paper.

I’ve never taken pics at the AGO before, and did my best despite: lighting in general, lighting reflected in in glass & oil paints & lucite display cabinets, and my unbridled enthusiasm.

Below is an example of a cabinet encased in the joys of reflections. This cabinet is made of water colour and metallic paper, hair (hairwork), and watercolour panels.

Sophia Jane Maria Bonnell (English – circa 1748 – 1841) and Mary Anne Harvey Bonnell (English – 1748 – 1853)

Paper Filigree Cabinet circa 1789

The plan is to show more of the art in categories. However, due to the plethora of photos to comb through, It will happen between street art posts.

Anna Maria Von Schurman (Dutch 1607- 1678)

Self-Portrait -1633 – engraving on paper

Anna mastered 14 languages. Her proto-feminist treatise The Learned Maid was published in Latin in 1638

One art blogger has agreed to come on as a guest.

Katherine Read (English 1723 -1778)

British Gentlemen in Rome – circa 1750 – oil on canvas

I’m swept away.

Photos © Resa McConaghy