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Article
Lavinia Fontana’s Prudence: A Personification of Wisdom
Author(s)
Liana De Girolami Cheney
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DOI:10.17265/2159-5836/2019.07.012
Affiliation(s)
University of Aldo Moro, Bari, Italy
ABSTRACT
The first section of this essay deals with an iconographical analysis of Lavinia Fontana’s (1552-1614) Prudence or Personification of Wisdom of 1590, while the second part provides an iconological interpretation, demonstrating Fontana’s application of emblematic significations. This painting is presently on display at the Galerie Maison d’Art in Monte Carlo. At this time there is lack of knowledge about the patronage of this commission, except from the art gallery’s records showing that it acquired the painting from a private collection in New York.
KEYWORDS
Prudence, Venus, Urania Bolognese culture, theories about art, beauty, wisdom, Renaissance emblematic traditions, personification, female creativity, astronomy
Cite this paper
References
Aiken, J. A. (1980). Leon Battista Alberti’s system of human proportions. Journal of the Courtauld Institutes, 43, 68-96.
Alciato, A. (1551). Emblemata. Lyons: Macé Bonhomme for Guilliame Rouille.
Alciato, A. (December 2017). Emblemata. Retrieved from http://www.emblems.arts.gla.ac.uk/alciato/
Allen, M. J. B., & Rees, V. (Eds.). (2002). Marsilio Ficino: His theology, his philosophy, his legacy. Leiden: E. J. Brill.
Aquinas, T. (1993). Treatise on the virtues. (J. A. Oesterle, Trans.). Notre Dame, IN: University of Notre Dame Press.
Bambach, C. (1999). Drawing and painting in the Italian Renaissance workshop: Theory and practice, 1300-1600. Cambridge: Cambridge University Press.
Barolsky, P. (1994). The faun in the garden. University Park: The Pennsylvania State University Press.
Bettarini, R., & Barocchi, P. (1971-1986). Giorgio Vasari, Le vite de’ più eccellenti architetti, pittori, et scultori edizioni 1550 e 1568 (The lives of the most excellent architects, painters and sculptors: 1550 and 1568). Florence: Sansoni.
Biedermann, H. (1994). A dictionary of symbols: Cultural icons and the meaning behind them. New York: Meridian.
Bocchi, A. (1574). Symbolicae quaestiones (Symbolic questions). Bologna: Giulio Bonasone.
Bohn, B. (2004a). Elisabetta Sirani and drawing practices in early modern Bologna. Master Drawings, 42(3), 207-236.
Bohn, B. (2004b). Female self-portraiture in early modern Bologna. Renaissance Studies, 18(2), 239-286.
Bull, M. (2005). Mirror of the Gods. New York: Oxford University Press.
Cantaro, M. T. (1989). Lavinia Fontana Bolognese: “Pittora singolare” 1552-1614 (Lavinia Fontana from Bologna: Unique painter). Milan: Jandi Sapi Editori.
Cecchi, A. (1987). La Prudenza del Bronzino per Ser Carlo Gherardi. In Antichità viva (pp. 19-22).
Ceregato, C. (2008). Herpetological iconography in 16th century: The tempera paintings of Ulisse Aldrovandi. Journal of the History and Bibliography of Herpetology, 7(2), 4-12.
Cheney, L. D. (1993). Vasari and Naples: The Monteoliveto order. In Parthenope’s splendor: Art of the golden age in Naples. Papers in Art History, 7, 48-126.
Cheney, L. D. (1995). Giorgio Vasari’s Sala dei Cento Giorni: A Farnese celebration. Exploration in Renaissance Culture, 21, 121-151.
Cheney, L. D. (2007). Giorgio Vasari’s fine arts from the Vite of 1550: The splendor of creativity and design. Journal of Literature and Art Studies, 7(2), 140-178.
Cheney, L. D. (2009). Giorgio Vasari’s Allegory of prudence: Mirroring Alciato and Valeriano’s emblems. Emblem Studies, 7, 26-37.
Cheney, L. D. (2011). The decorative religious and secular cycles. In L. D. Cheney, Giorgio Vasari: Artistic and emblematic manifestations (pp. 141-150). Washington, DC: New Academia.
Cheney, L. D. (2015). Lavinia Fontana’s two Minervas. Woman’s Art Journal, 36(2), 30-40.
Cheney, L. D. (2016). Giorgio Vasari and mannerist architecture: A marriage of beauty and function in urban spaces. Journal of Literature and Art Studies, 6(10), 1150-1171.
Cheney, L. D., Faxon, A. C., & Russo, K. L. (2000/2009). Self-portraits by women painters. London: Scholar/Ashgate Press, and revised Washington, DC: New Academia.
Chevalier, J., & Gheerbrant, A. (1994). A dictionary of symbols. London: Blackwell.
Colonna, F. (1499). Hypnerotomachia Poliphili (The dream of Poliphilo or The soul in love). Venice: Aldus Manutius.
Conigliello, L., Cecchi, A., & Faietti, M. (2014). Jacopo Ligozzi. Pittore universalissimo (Jacopo Ligozzi. Universal painter). Florence: Sillabe.
Cooper, J. C. (1978). An illustrated encyclopaedia of traditional symbols. London: Thames and Hudson.
Cropper, E. (1976). On beautiful women, Parmigianino, Petrarchismo, and the vernacular style. Art Bulletin, 58(3), 374-394.
Daly, P. (1985). Andreas Alciatus, emblems in translation. Toronto: University of Toronto Press.
Deonna, W. (1954). The crab and the butterfly: A study of animal symbolism. Journal of the Warburg and Courtauld Institutes, 17(1/2), 47-86.
Dillon, J., & Zovko, M.-É. (Eds.). (2008). Platonism and forms of intelligence. Berlin: Akademie Verlag.
Evelyn-White, H. G. (1914). Hesiod’s theogony, the Homeric hymns and Homerica with an English translation. Cambridge, MA: Harvard University Press; London: William Heinemann Ltd.
Fletcher, K. (2013). Hyginus’ Fabulae: Toward a Roman mythographe. In R. S. Smith and S. Trzaskoma (Eds.), Writing Greek and Roman myth: Mythography in the ancient world (pp. 133-164). Louvain: Peeters.
Fortunati, V. (1998). Lavinia Fontana of Bologna, 1552-1614. Milan: Electa.
Fox, M. (2007). Cicero’s philosophy of history. Oxford: Oxford University Press.
Galli, R. (1940). Lavinia Fontana pittrice, 1552-1614. Imola: Paolo Galeati.
Garrard, M. (1989). Artemisia Gentileschi. Princeton, NJ: Princeton University Press.
Glasgow Emblem. (December 2017). Retrieved from http://www.emblems.arts.gla.ac.uk/french/
Grendler, P. F. (1999). The University of Bologna, the city, the papacy. Renaissance Studies, 13(4), 475-485.
Grendler, P. F. (1984). Aldus Manutius: Humanist, teacher, and printer. Providence, RI: The John Carter Brown Library.
Grendler, P. F. (2002). The Universities of the Italian Renaissance. Baltimore, MD: The Johns Hopkins University Press.
Hackforth, R. (Trans. and Ann.). (1972). Plato’s Philebus. Cambridge: Cambridge University Press.
Harris, A. S. (2010). Artemisia Gentileschi and Elisabetta Sirani: Rivals or strangers? Woman’s Art Journal, 31(1), 3-12.
Heseleer, B. (1959). Andreas Vesalius’ first public anatomy at Bologna, 1540. Uppsala: Almquist & Wiksells.
Horapollo. (1505/1993). Hieroglyphica (Venice: Aldus Manutius). (G. Boas, Trans.). Princeton, NJ: Princeton University Press.
Horopollo. (1505/1991). Hierogliphica (Venice: Aldus Manutius). (J. M. González de Zárate, Ed. and Trans.). Madrid: AKAL.
Ilardi, V. (2007). Renaissance vision from spectacles to telescope. Philadelphia, PA: American Philosophical Society.
Jayne, S. R. (1945). Marsilio Ficino’s commentary on Plato’s symposium. Journal of Philosophy, 42(21), 586-588.
Jayne, S. R. (Trans. and Ann.). (1985). Marsilio Ficino. Commentary on Plato’s symposium on love. Dallas: Spring Publications.
Johansen, T. K. (Ed.), & Lee, D. (Trans.). (2008). Plato’s Timaeus and Critias. London: Penguin Classics.
Kahn, V. (1985). Rhetoric, prudence and skepticism in the Renaissance. Ithaca, NY: Cornell University Press.
Kalligas, P. (2014). The Enneads of Plotinus: A commentary, Volume 1. (E. K. Fowden & N. Pilavachi, Trans.). Princeton, NJ: Princeton University Press.
Llewellyn, E., & Romalli, C. (1992). Drawing in Bologna, 1500-1600. London: Courtauld Institute Galleries.
Malvasia, C. S. (1678). Felsina Pittrice: Vite de pittori bolognesi (Felsina Painter: Lives of the Bolognese painters). (M. Brascaglia, Ed.). Bologna: Edizioni ALFA, 1971.
Mann, J. W. (2009). Identity signs: Meanings and methods in Artemisia Gentileschi’s signatures. Renaissance Studies, 23(1), 71-77.
McCoppin, R. S. (2015). Lessons of nature in mythology. Jefferson, NC: McFarland.
Murphy, C. P. (2003). Lavinia Fontana: A painter and her patrons in sixteenth-century Bologna. New Haven: Yale University Press.
Paleotti, G. (2012). Discourse on sacred and profane images. (W. McCuaig, Trans.). Los Angeles, CA: Getty Research Institute.
Pollard, J. G. (2007). Renaissance medals. The collections of the National Gallery of Art Systematic Catalogue. 2 vols. Washington, DC: National Gallery Publications.
Praz, M. (1975). Studies in seventeenth-century imagery. Rome: Edizioni di Storia e Letteratura.
Ragghianti, C. L. (1970). Gli affreschi di casa Minerbia Ferrara. Pesaro.
Rossman, D. A., Ford, N. B., & Seigel, R. A. (1996). The garter snake: Evolution and ecology. Tulsa: The University of Oklahoma Press.
Rowland, I., & Howe, T. N. (Eds.). (1999). Vitruvius: Ten books on architecture. Cambridge: Cambridge University Press.
Rykwert, J., Tavernor, R., & Leach, N. (Eds. and Trans.). (1988). De re aedificatoria. Cambridge, MA: MIT Press.
Siraisi, N. G. (1994). Vesalius and human diversity in De humani corporis fabrica. Journal of the Warburg and Courtauld Institutes, 57, 60-88.
Tufts, E. (1982). Lavinia Fontana, Bolognese humanist. In A. Emiliani (Ed.), Le arti a Bologna e in Emilia dal XVI a XVII secolo (pp. 129-134). Bologna: Clueb.
Tuve, R. (1963). Notes on the virtues and vices. Journal of the Warburg and Courtauld Institutes, 26, 246-247.
Urbini, S. (1994). “Lavinia Fontana,” exhibition catalogue entry, 74. In V. Fortunati (Ed.), Lavinia Fontana (p. 207). Milan: Electa.
Valeriano, P. (1556). Hieroglyphica. Basel: Oporinum.
Van Nostrand, D. (2016). Festina Lente and the “Crab and the butterfly.” Journal of Translational Internal Medicine, 4(2), 58-60.
Van Veen, H. T. (2006). Cosimo I de’ Medici and his self-representation in Florentine art and culture. Cambridge: Cambridge University Press.
Via, C. C. (1987). Urania. In G. Berti and A. Vitali (Eds.), Le Carte di Corte. I Tarocchi, Gioco e Magia alla Corte degli Estensi (The tarot card games and magic in the court of the Estensi (p. 180). Bologna: Nuova Alfa Editoriale.
Watson, E. (2004). Achille Bocchi and the emblem book as symbolic form. Cambridge: Cambridge University Press.
Wheeler, G. B. (1856). The works of Horace, 2 vols. Dublin: McGlashan and Gill.
White, T. H. (1960). Bestiary. New York: G. P. Putnam’s Sons.
Woods-Marsden, J. (1998). Renaissance self-portraiture: The visual construction of identity and the social status of the artist. New Haven, CT: Yale University Press.
Zacchi, A. (December 2017). Lavinia Fontana. Retrieved from http://www.oldmasters.com/document300.html?lang=fr
Alciato, A. (1551). Emblemata. Lyons: Macé Bonhomme for Guilliame Rouille.
Alciato, A. (December 2017). Emblemata. Retrieved from http://www.emblems.arts.gla.ac.uk/alciato/
Allen, M. J. B., & Rees, V. (Eds.). (2002). Marsilio Ficino: His theology, his philosophy, his legacy. Leiden: E. J. Brill.
Aquinas, T. (1993). Treatise on the virtues. (J. A. Oesterle, Trans.). Notre Dame, IN: University of Notre Dame Press.
Bambach, C. (1999). Drawing and painting in the Italian Renaissance workshop: Theory and practice, 1300-1600. Cambridge: Cambridge University Press.
Barolsky, P. (1994). The faun in the garden. University Park: The Pennsylvania State University Press.
Bettarini, R., & Barocchi, P. (1971-1986). Giorgio Vasari, Le vite de’ più eccellenti architetti, pittori, et scultori edizioni 1550 e 1568 (The lives of the most excellent architects, painters and sculptors: 1550 and 1568). Florence: Sansoni.
Biedermann, H. (1994). A dictionary of symbols: Cultural icons and the meaning behind them. New York: Meridian.
Bocchi, A. (1574). Symbolicae quaestiones (Symbolic questions). Bologna: Giulio Bonasone.
Bohn, B. (2004a). Elisabetta Sirani and drawing practices in early modern Bologna. Master Drawings, 42(3), 207-236.
Bohn, B. (2004b). Female self-portraiture in early modern Bologna. Renaissance Studies, 18(2), 239-286.
Bull, M. (2005). Mirror of the Gods. New York: Oxford University Press.
Cantaro, M. T. (1989). Lavinia Fontana Bolognese: “Pittora singolare” 1552-1614 (Lavinia Fontana from Bologna: Unique painter). Milan: Jandi Sapi Editori.
Cecchi, A. (1987). La Prudenza del Bronzino per Ser Carlo Gherardi. In Antichità viva (pp. 19-22).
Ceregato, C. (2008). Herpetological iconography in 16th century: The tempera paintings of Ulisse Aldrovandi. Journal of the History and Bibliography of Herpetology, 7(2), 4-12.
Cheney, L. D. (1993). Vasari and Naples: The Monteoliveto order. In Parthenope’s splendor: Art of the golden age in Naples. Papers in Art History, 7, 48-126.
Cheney, L. D. (1995). Giorgio Vasari’s Sala dei Cento Giorni: A Farnese celebration. Exploration in Renaissance Culture, 21, 121-151.
Cheney, L. D. (2007). Giorgio Vasari’s fine arts from the Vite of 1550: The splendor of creativity and design. Journal of Literature and Art Studies, 7(2), 140-178.
Cheney, L. D. (2009). Giorgio Vasari’s Allegory of prudence: Mirroring Alciato and Valeriano’s emblems. Emblem Studies, 7, 26-37.
Cheney, L. D. (2011). The decorative religious and secular cycles. In L. D. Cheney, Giorgio Vasari: Artistic and emblematic manifestations (pp. 141-150). Washington, DC: New Academia.
Cheney, L. D. (2015). Lavinia Fontana’s two Minervas. Woman’s Art Journal, 36(2), 30-40.
Cheney, L. D. (2016). Giorgio Vasari and mannerist architecture: A marriage of beauty and function in urban spaces. Journal of Literature and Art Studies, 6(10), 1150-1171.
Cheney, L. D., Faxon, A. C., & Russo, K. L. (2000/2009). Self-portraits by women painters. London: Scholar/Ashgate Press, and revised Washington, DC: New Academia.
Chevalier, J., & Gheerbrant, A. (1994). A dictionary of symbols. London: Blackwell.
Colonna, F. (1499). Hypnerotomachia Poliphili (The dream of Poliphilo or The soul in love). Venice: Aldus Manutius.
Conigliello, L., Cecchi, A., & Faietti, M. (2014). Jacopo Ligozzi. Pittore universalissimo (Jacopo Ligozzi. Universal painter). Florence: Sillabe.
Cooper, J. C. (1978). An illustrated encyclopaedia of traditional symbols. London: Thames and Hudson.
Cropper, E. (1976). On beautiful women, Parmigianino, Petrarchismo, and the vernacular style. Art Bulletin, 58(3), 374-394.
Daly, P. (1985). Andreas Alciatus, emblems in translation. Toronto: University of Toronto Press.
Deonna, W. (1954). The crab and the butterfly: A study of animal symbolism. Journal of the Warburg and Courtauld Institutes, 17(1/2), 47-86.
Dillon, J., & Zovko, M.-É. (Eds.). (2008). Platonism and forms of intelligence. Berlin: Akademie Verlag.
Evelyn-White, H. G. (1914). Hesiod’s theogony, the Homeric hymns and Homerica with an English translation. Cambridge, MA: Harvard University Press; London: William Heinemann Ltd.
Fletcher, K. (2013). Hyginus’ Fabulae: Toward a Roman mythographe. In R. S. Smith and S. Trzaskoma (Eds.), Writing Greek and Roman myth: Mythography in the ancient world (pp. 133-164). Louvain: Peeters.
Fortunati, V. (1998). Lavinia Fontana of Bologna, 1552-1614. Milan: Electa.
Fox, M. (2007). Cicero’s philosophy of history. Oxford: Oxford University Press.
Galli, R. (1940). Lavinia Fontana pittrice, 1552-1614. Imola: Paolo Galeati.
Garrard, M. (1989). Artemisia Gentileschi. Princeton, NJ: Princeton University Press.
Glasgow Emblem. (December 2017). Retrieved from http://www.emblems.arts.gla.ac.uk/french/
Grendler, P. F. (1999). The University of Bologna, the city, the papacy. Renaissance Studies, 13(4), 475-485.
Grendler, P. F. (1984). Aldus Manutius: Humanist, teacher, and printer. Providence, RI: The John Carter Brown Library.
Grendler, P. F. (2002). The Universities of the Italian Renaissance. Baltimore, MD: The Johns Hopkins University Press.
Hackforth, R. (Trans. and Ann.). (1972). Plato’s Philebus. Cambridge: Cambridge University Press.
Harris, A. S. (2010). Artemisia Gentileschi and Elisabetta Sirani: Rivals or strangers? Woman’s Art Journal, 31(1), 3-12.
Heseleer, B. (1959). Andreas Vesalius’ first public anatomy at Bologna, 1540. Uppsala: Almquist & Wiksells.
Horapollo. (1505/1993). Hieroglyphica (Venice: Aldus Manutius). (G. Boas, Trans.). Princeton, NJ: Princeton University Press.
Horopollo. (1505/1991). Hierogliphica (Venice: Aldus Manutius). (J. M. González de Zárate, Ed. and Trans.). Madrid: AKAL.
Ilardi, V. (2007). Renaissance vision from spectacles to telescope. Philadelphia, PA: American Philosophical Society.
Jayne, S. R. (1945). Marsilio Ficino’s commentary on Plato’s symposium. Journal of Philosophy, 42(21), 586-588.
Jayne, S. R. (Trans. and Ann.). (1985). Marsilio Ficino. Commentary on Plato’s symposium on love. Dallas: Spring Publications.
Johansen, T. K. (Ed.), & Lee, D. (Trans.). (2008). Plato’s Timaeus and Critias. London: Penguin Classics.
Kahn, V. (1985). Rhetoric, prudence and skepticism in the Renaissance. Ithaca, NY: Cornell University Press.
Kalligas, P. (2014). The Enneads of Plotinus: A commentary, Volume 1. (E. K. Fowden & N. Pilavachi, Trans.). Princeton, NJ: Princeton University Press.
Llewellyn, E., & Romalli, C. (1992). Drawing in Bologna, 1500-1600. London: Courtauld Institute Galleries.
Malvasia, C. S. (1678). Felsina Pittrice: Vite de pittori bolognesi (Felsina Painter: Lives of the Bolognese painters). (M. Brascaglia, Ed.). Bologna: Edizioni ALFA, 1971.
Mann, J. W. (2009). Identity signs: Meanings and methods in Artemisia Gentileschi’s signatures. Renaissance Studies, 23(1), 71-77.
McCoppin, R. S. (2015). Lessons of nature in mythology. Jefferson, NC: McFarland.
Murphy, C. P. (2003). Lavinia Fontana: A painter and her patrons in sixteenth-century Bologna. New Haven: Yale University Press.
Paleotti, G. (2012). Discourse on sacred and profane images. (W. McCuaig, Trans.). Los Angeles, CA: Getty Research Institute.
Pollard, J. G. (2007). Renaissance medals. The collections of the National Gallery of Art Systematic Catalogue. 2 vols. Washington, DC: National Gallery Publications.
Praz, M. (1975). Studies in seventeenth-century imagery. Rome: Edizioni di Storia e Letteratura.
Ragghianti, C. L. (1970). Gli affreschi di casa Minerbia Ferrara. Pesaro.
Rossman, D. A., Ford, N. B., & Seigel, R. A. (1996). The garter snake: Evolution and ecology. Tulsa: The University of Oklahoma Press.
Rowland, I., & Howe, T. N. (Eds.). (1999). Vitruvius: Ten books on architecture. Cambridge: Cambridge University Press.
Rykwert, J., Tavernor, R., & Leach, N. (Eds. and Trans.). (1988). De re aedificatoria. Cambridge, MA: MIT Press.
Siraisi, N. G. (1994). Vesalius and human diversity in De humani corporis fabrica. Journal of the Warburg and Courtauld Institutes, 57, 60-88.
Tufts, E. (1982). Lavinia Fontana, Bolognese humanist. In A. Emiliani (Ed.), Le arti a Bologna e in Emilia dal XVI a XVII secolo (pp. 129-134). Bologna: Clueb.
Tuve, R. (1963). Notes on the virtues and vices. Journal of the Warburg and Courtauld Institutes, 26, 246-247.
Urbini, S. (1994). “Lavinia Fontana,” exhibition catalogue entry, 74. In V. Fortunati (Ed.), Lavinia Fontana (p. 207). Milan: Electa.
Valeriano, P. (1556). Hieroglyphica. Basel: Oporinum.
Van Nostrand, D. (2016). Festina Lente and the “Crab and the butterfly.” Journal of Translational Internal Medicine, 4(2), 58-60.
Van Veen, H. T. (2006). Cosimo I de’ Medici and his self-representation in Florentine art and culture. Cambridge: Cambridge University Press.
Via, C. C. (1987). Urania. In G. Berti and A. Vitali (Eds.), Le Carte di Corte. I Tarocchi, Gioco e Magia alla Corte degli Estensi (The tarot card games and magic in the court of the Estensi (p. 180). Bologna: Nuova Alfa Editoriale.
Watson, E. (2004). Achille Bocchi and the emblem book as symbolic form. Cambridge: Cambridge University Press.
Wheeler, G. B. (1856). The works of Horace, 2 vols. Dublin: McGlashan and Gill.
White, T. H. (1960). Bestiary. New York: G. P. Putnam’s Sons.
Woods-Marsden, J. (1998). Renaissance self-portraiture: The visual construction of identity and the social status of the artist. New Haven, CT: Yale University Press.
Zacchi, A. (December 2017). Lavinia Fontana. Retrieved from http://www.oldmasters.com/document300.html?lang=fr