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Article
Josefa de Óbidos’s Vedute: Discovering the Realms of Nature
Author(s)
Liana De Girolami Cheney
Full-Text PDF
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DOI:10.17265/2159-5836/2023.07.008
Affiliation(s)
University of Massachusetts Lowell, Lowell, USA
ABSTRACT
Josefa Figueira de Ayala de Cabrera D’Óbidos was a renowned Baroque painter from Portugal who lived between 1630 and 1684. She was an accomplished artist and one of the most notable female artists of her time. Her works included both secular and religious themes, and she used a variety of mediums with great skill. Despite having different surnames, she signed her paintings under Josepha em Óbidos. This article concentrates on the artist’s landscapes (vedute) and integrated still-life paintings (bodegones). It delves into her capacity to depict the changing seasons through these themes. Josefa expertly combined Baroque tenebrism and illusionism with her love of Nature, highlighting both the physical and spiritual aspects of the natural world. Her paintings are visually captivating, with beautiful colors and intricate details. She incorporated emblematic and mystical symbolism, which added to their spiritual significance in portraying the flora and fauna of her homeland.
KEYWORDS
flora and fauna, bodegon, symbolism, vedute, season cycles, the months, Baroque Portuguese
Cite this paper
Journal of Literature and Art Studies, July 2023, Vol. 13, No. 7, 522-547
References
Andrade, I. (2015). Josefa de Óbidos e a Invenção do Barroco Português. Exhibition Catalogue. Lisbon: Nacional-Casa da Moeda Museu Nacional de Arte Antiga.
Andrews, J. (2020). Josefa de Ayala e Cabreira’s St. Catherine of Alexandria Altarpiece and Female Empowerment. In J. Roe and J. Andrews (Eds.), Representing women’s political identity in early modern iberian world. Milton Park, UK: Routledge, chap. 5, https://doi.org/10.4324/9781351010122 (accessed 15 May 2023).
Azambuja, S. T. (2009/2017). A linguagem simbólica da natureza. A Flora e Fauna na Pintura Seiscentista Portuguesa. Lisbon: Nova Vega; repr. Lisbon: Scribe.
Bailey, G. A. (2001). Art on the Jesuit Missions in Asia and Latin America, 1542–1773. Toronto: University of Toronto Press.
Barja, J., & Barja, Y. (1987). Cesare Ripa. Iconologia (2 Vols). Madrid: Akal.
Barker, S. (2002). Artemisia Gentileschi. London: Lund Humphries.
Bilau, F. (2023). O pintor Baltazar Gomes Figueria (1604-1674) e a sua quinta da Capeleira, em Óbidos. Retrieved from https://www.academia.edu/38121677/O_pintor_Baltazar_Gomes_Figueira_1604_1674_e_a_sua_quinta_da_Capeleira_em_Óbidos (accessed 15 May 2023).
Bleichmar, D. (2008). Looking at Exotica in Baroque Collections: The object, the viewer, and the collection as a space. In R. Bueno and López-Pérez (Eds.), The gentleman, the Virtuoso, the inquirer: Vincencio Juan de Lastanosa and the art of collecting in early modern Spain. Cambridge, UK: Cambridge Scholars Publishing.
Bolland, J. (1640). Imago primi saeculi Societatis Iesu. Antwerp: Plantin.
Boutell, C. (1877). Symbolism of the seasons and months represented in early art. The Art Journal, 3, 233-236.
Brockey, L. M. (2014). The visitor: André Palmeiro and the Jesuits in Asia. Cambridge, MA: Harvard University Press.
Brown, J. (1978). Images and ideas in seventeenth-century Spanish painting. Princeton, NJ: Princeton University Press.
Caetano, J. O. C. (2015). Baltazar Gomes Figueira e Josefa de Óbidos: o início da naturaleza-morta em Portugal. In Caetano et al. (Eds.), Josefa de Óbvidos e a Invenção o Barroco Portughês. Lisbon: MNAA.
Cheney, L. D. (2000). Josefa de Ayala D’Óbidos’ Self-Portraits. Mediterranean Studies, 9, 203-229, https://www.jstor.org/stable/41166919.
Cheney, L. D. (2020). Lavinia Fontana’s mythological paintings: Art, beauty, and wisdom. Cambridge, UK: Cambridge Scholars Publishing.
Cheney, L. D. (2023). Barbara Longhi of Ravenna: Art, grace, and piety. Cambridge, UK: Cambridge Scholars Publishing.
Cheney, L. D. (forthcoming 2003). Josepha em Óbidos’s Holy Family and Sacrificial Lamb: Emblematic Devotions. Iconocrazia.
Cheney, L. D., Russo, K., & Faxon, A. (2000). Self-portraits by women painters (Ashgate, VT, 2000; repr. and rev. New Academia, Washington, DC).
Cherry, P. (1999). Arte y Naturaleza. El bodegón español en el Siglo de Oro. Madrid: Fundación de Apoyo a la Historia del Arte Hispánico.
Coutimbo, I., et al. (2017). The gourd-shape vessel: A Portuguese product. Journal of Glass Studies, 59, 215-234, https://www.jstor.org/stable/90013827 (accessed 15 May 2023).
Da Costa, L. X. (1931). Uma Aguafortista do Século XVII (Josefa Ayala). Coimbra: Imprensa da Universidade.
Dabbs, J. K. (2009). Life stories of women artists, 1550-1800: An Anthology. London: Routledge.
De Barreira, F. I. (1622/1698). Tratado das significaçoens das plantas, flores, e fruttos, que se refrem na Sagrada Escrittura: tradas de divina e humans letras, com suas breves consideraçoes. Lisbon: Pedro Craesbeeck; repr. Lisbon: Officina de Manuel Lopes Ferreira.
De Predis, C. (1490). De Sphaera. Ms. Lat. 209, Biblioteca Estense in Modena.
Debus, A. G., & Walton, M. T. (Eds.). (1998). Reading the Book of Nature: The other side of the scientific revolution. Kirksville, MO: Thomas Jefferson University Press.
Delenda, O.,& Ros de Barbero, A. (2009-2010). Francesco Zurbarán (2 Vols.). New York: Wildenstein Institute and Fundación de Apoyo a la Historia del Arte Hispánico.
Edgerton, S. Y. (2006). Brunelleschi’s mirror, Alberti’s window, and Galileo’s “perspective tube” (October). https://doi.org/10.1590/S0104-59702006000500010.
Enggass, R., & Brown, J. (1970). Italy and Spain, 1600-1750: Sources and documents. Englewood Cliffs, NJ: Prentice-Hall, Inc.
Estrela, J. (2005). Landscapes, fruit-bearers, flower Vases: The silent revolution. In Estrela et al. (Eds.), Baltazar gomes figueira. Penamaior: Ares Gráficas, Lda.
Estrela, J., Gorjao, S. & Serrão, V. (Eds.). (2005). Baltazar Gomes Figueira (1604-1674). Pintor de Óbidos. Exhibition Catalogue. Penamaior: Ares Gráficas, Lda.
Ficino, M. (1975). The Philebus commentary (M. J. B. Allen, Trans.). Berkeley, CA: The University of California Press.
Fragoso, V. (2009). La nature morte, miroir d’une societe: etude sur le quotidien portugais et son apparennces au XVII siècle. Semantic Scholar, 6, March, np.
Hatherly, A. (1997). As Misteriosas Portas da ilusão. A propósito do imaginario piedoso em Sóror Maria do Céu e Josefa D’Óbidos. In Serrão et al. (Eds.), Josefa de Óbidos. Lisbon: Gabinete de Relações Internacionais.
Impey, O., & MacGregor, A. (Eds.). (2001). The origins of museums: The cabinet of curiosities in sixteenth- and seventeenth-century Europe. Chicago, IL: House of Status.
Inventário Artístico de Portugal, Distrito de Santarém. (1949). Lisbon, ANBA.
Kemp, M. (1990). The science of art: Optical themes in western art from Brunelleschi to Seurat. London: Yale University Press.
Kubler, G., & Soria, M. (1959). Art and architecture in Spain and Portugal and their American dominions. Baltimore, MD: Penguin Books.
Levi D’Ancona, M. (1977). The garden of the Renaissance. Botanical symbolism in Italian painting. Florence: L. S. Olschki.
Marques de Gama, L. F. (1986a). O Testamento Inédito da Pintora Josefa D’Óbidos. Óbidos: Câmara Municipal de Óbidos.
Marques de Gama, L. F. (1986b). Arquitectura e Urbanismo, Sec. XVI e XVII. Óbidos: Câmara Municipal de Óbidos.
Milani, R. (2001). L’arte del paessaggio. Bologna: Il Mulino.
Möbius, H. (1982). Women of the Baroque age. Montclair, NJ: Abner Schram.
Modesti, A. (2015). Elisabetta Sirani “Virtuosa”: Women’s cultural production in early modern Bologna. Ghent: Brepols.
Norman, L. F. (2001). The theatrical baroque: European plays, painting, and poetry, 1575–1725. Chicago, IL: Smart Museum of Art.
Pasto, I. G. (2002). Francisco Barrera (Madrid, 1595-1658). Bodegón de orfebrería, naipes, reloj, copa de vino, bizcochos, tazas de porcelana y caja de carey (c. 1635-1650). In F. Tabar et al. (Eds.), Luces del Barroco. Pintura y escultura del siglo XVII en España. Vitoria: Fundación Caja Vital.
Perym, Damiao de Froes, aka Fray Joao de San Pedro. (1763-1740). Theatro heroino: Abecedario historico, e catalogo das mulheres illustres em armas, letras, acçcoens heroicas e artes libera (Theatre of Heroines: Historical primer and catalog of Illustrious Women in Arms, Letters, Heroic Actions and the Liberal Arts) (2 Vols.). Lisbon: na,
Plato. (1925). Symposium (H. N. Fowler, Trans.). Plato in twelve volumes. Cambridge, MA: Harvard University Press.
Plato. (1952). Timaeus (R. G. Bury, Ed. and Trans.). Cambridge, MA: Harvard University Press, Loeb Classical Library.
Pons, S. S. (1995). Francisco Barrera: aproximación a su biografía. Archivo Español de Arte, 271, 285-298.
Ripa, C. (1593/1603). Iconologia. Rome: Gio Gilotti; Rome: L. Facii.
Ripollés, C. (2016). Josefa de Óbidos e a Invenção do Barroco Português. Hispanic Research Journal, 17(6), 558-560, DOI: 10.1080/14682737.2016.1238224.
Ross, A. C. (1994). A vision betrayed: The Jesuits in Japan and China, 1542-1742. Maryknoll, NY: Orbis Books.
Russell-Wood, A. J. R. (1998). The Portuguese empire, 1415-1808: A world on the move. Baltimore, MD: Johns Hopkins University Press.
Schama, S. (1997). The embarrassment of riches: An interpretation of Dutch culture in the golden age. New York: Vintage.
Schneider, N. (1994). Still life. Still life painting in the early modern period. Cologne: Taschen.
Segal, S. (1988). A prosperous past. The Hague: SDU Publishers.
Segal, S. (1990). Flowers and nature. Amstelveen: Hijnk Publishing International.
Serrão, V. (1993). Josefa de Óbido: e o tempo Barroco. Lisbon: Instituto Portugués do Património Cultural.
Serrão, V. B., von Barghahn, B., & de Moura Sobral, L. (1997b). Josefa de Óbidos. Washington, DC: National Museum of Women in the Arts.
Serrão, V., von Barghahn, B., & de Moura Sobral, L. (1997a). The sacred and the profane: Josefa de Óbidos of Portugal. Lisbon: Gabinete de Relações Internacionais.
Shlain, L. (1991). Art and physics: Parallel visions in space, time, and light. New York: Morrow.
Sobral, L. de M. (2004). Catálogo da Exposição a Pintura Portuguesa do século XVII. Lisbon: Instituto Português de Museus, Museu Nacional de Arte Antiga.
Tiffany, T. J. (2012). Diego Velázquez’s early paintings and the culture of Seville in seventeenth-century Seville. Philadelphia, PA: Penn State University Press.
Turley, S. R. (2014). Awakening wonder: A classical guide to truth, goodness & beauty. Camp Hill, PA: Classical Academic Press.
Watanabe, A. (2023). Japan on the Jesuit stage: Two 17th-century Latin plays. London: Bloomsbury Publishing.
Webster, J. C. (1938). The labors of the months in antique and mediaeval art to the end of the twelfth century. Princeton, NJ: Princeton University Press.
Andrews, J. (2020). Josefa de Ayala e Cabreira’s St. Catherine of Alexandria Altarpiece and Female Empowerment. In J. Roe and J. Andrews (Eds.), Representing women’s political identity in early modern iberian world. Milton Park, UK: Routledge, chap. 5, https://doi.org/10.4324/9781351010122 (accessed 15 May 2023).
Azambuja, S. T. (2009/2017). A linguagem simbólica da natureza. A Flora e Fauna na Pintura Seiscentista Portuguesa. Lisbon: Nova Vega; repr. Lisbon: Scribe.
Bailey, G. A. (2001). Art on the Jesuit Missions in Asia and Latin America, 1542–1773. Toronto: University of Toronto Press.
Barja, J., & Barja, Y. (1987). Cesare Ripa. Iconologia (2 Vols). Madrid: Akal.
Barker, S. (2002). Artemisia Gentileschi. London: Lund Humphries.
Bilau, F. (2023). O pintor Baltazar Gomes Figueria (1604-1674) e a sua quinta da Capeleira, em Óbidos. Retrieved from https://www.academia.edu/38121677/O_pintor_Baltazar_Gomes_Figueira_1604_1674_e_a_sua_quinta_da_Capeleira_em_Óbidos (accessed 15 May 2023).
Bleichmar, D. (2008). Looking at Exotica in Baroque Collections: The object, the viewer, and the collection as a space. In R. Bueno and López-Pérez (Eds.), The gentleman, the Virtuoso, the inquirer: Vincencio Juan de Lastanosa and the art of collecting in early modern Spain. Cambridge, UK: Cambridge Scholars Publishing.
Bolland, J. (1640). Imago primi saeculi Societatis Iesu. Antwerp: Plantin.
Boutell, C. (1877). Symbolism of the seasons and months represented in early art. The Art Journal, 3, 233-236.
Brockey, L. M. (2014). The visitor: André Palmeiro and the Jesuits in Asia. Cambridge, MA: Harvard University Press.
Brown, J. (1978). Images and ideas in seventeenth-century Spanish painting. Princeton, NJ: Princeton University Press.
Caetano, J. O. C. (2015). Baltazar Gomes Figueira e Josefa de Óbidos: o início da naturaleza-morta em Portugal. In Caetano et al. (Eds.), Josefa de Óbvidos e a Invenção o Barroco Portughês. Lisbon: MNAA.
Cheney, L. D. (2000). Josefa de Ayala D’Óbidos’ Self-Portraits. Mediterranean Studies, 9, 203-229, https://www.jstor.org/stable/41166919.
Cheney, L. D. (2020). Lavinia Fontana’s mythological paintings: Art, beauty, and wisdom. Cambridge, UK: Cambridge Scholars Publishing.
Cheney, L. D. (2023). Barbara Longhi of Ravenna: Art, grace, and piety. Cambridge, UK: Cambridge Scholars Publishing.
Cheney, L. D. (forthcoming 2003). Josepha em Óbidos’s Holy Family and Sacrificial Lamb: Emblematic Devotions. Iconocrazia.
Cheney, L. D., Russo, K., & Faxon, A. (2000). Self-portraits by women painters (Ashgate, VT, 2000; repr. and rev. New Academia, Washington, DC).
Cherry, P. (1999). Arte y Naturaleza. El bodegón español en el Siglo de Oro. Madrid: Fundación de Apoyo a la Historia del Arte Hispánico.
Coutimbo, I., et al. (2017). The gourd-shape vessel: A Portuguese product. Journal of Glass Studies, 59, 215-234, https://www.jstor.org/stable/90013827 (accessed 15 May 2023).
Da Costa, L. X. (1931). Uma Aguafortista do Século XVII (Josefa Ayala). Coimbra: Imprensa da Universidade.
Dabbs, J. K. (2009). Life stories of women artists, 1550-1800: An Anthology. London: Routledge.
De Barreira, F. I. (1622/1698). Tratado das significaçoens das plantas, flores, e fruttos, que se refrem na Sagrada Escrittura: tradas de divina e humans letras, com suas breves consideraçoes. Lisbon: Pedro Craesbeeck; repr. Lisbon: Officina de Manuel Lopes Ferreira.
De Predis, C. (1490). De Sphaera. Ms. Lat. 209, Biblioteca Estense in Modena.
Debus, A. G., & Walton, M. T. (Eds.). (1998). Reading the Book of Nature: The other side of the scientific revolution. Kirksville, MO: Thomas Jefferson University Press.
Delenda, O.,& Ros de Barbero, A. (2009-2010). Francesco Zurbarán (2 Vols.). New York: Wildenstein Institute and Fundación de Apoyo a la Historia del Arte Hispánico.
Edgerton, S. Y. (2006). Brunelleschi’s mirror, Alberti’s window, and Galileo’s “perspective tube” (October). https://doi.org/10.1590/S0104-59702006000500010.
Enggass, R., & Brown, J. (1970). Italy and Spain, 1600-1750: Sources and documents. Englewood Cliffs, NJ: Prentice-Hall, Inc.
Estrela, J. (2005). Landscapes, fruit-bearers, flower Vases: The silent revolution. In Estrela et al. (Eds.), Baltazar gomes figueira. Penamaior: Ares Gráficas, Lda.
Estrela, J., Gorjao, S. & Serrão, V. (Eds.). (2005). Baltazar Gomes Figueira (1604-1674). Pintor de Óbidos. Exhibition Catalogue. Penamaior: Ares Gráficas, Lda.
Ficino, M. (1975). The Philebus commentary (M. J. B. Allen, Trans.). Berkeley, CA: The University of California Press.
Fragoso, V. (2009). La nature morte, miroir d’une societe: etude sur le quotidien portugais et son apparennces au XVII siècle. Semantic Scholar, 6, March, np.
Hatherly, A. (1997). As Misteriosas Portas da ilusão. A propósito do imaginario piedoso em Sóror Maria do Céu e Josefa D’Óbidos. In Serrão et al. (Eds.), Josefa de Óbidos. Lisbon: Gabinete de Relações Internacionais.
Impey, O., & MacGregor, A. (Eds.). (2001). The origins of museums: The cabinet of curiosities in sixteenth- and seventeenth-century Europe. Chicago, IL: House of Status.
Inventário Artístico de Portugal, Distrito de Santarém. (1949). Lisbon, ANBA.
Kemp, M. (1990). The science of art: Optical themes in western art from Brunelleschi to Seurat. London: Yale University Press.
Kubler, G., & Soria, M. (1959). Art and architecture in Spain and Portugal and their American dominions. Baltimore, MD: Penguin Books.
Levi D’Ancona, M. (1977). The garden of the Renaissance. Botanical symbolism in Italian painting. Florence: L. S. Olschki.
Marques de Gama, L. F. (1986a). O Testamento Inédito da Pintora Josefa D’Óbidos. Óbidos: Câmara Municipal de Óbidos.
Marques de Gama, L. F. (1986b). Arquitectura e Urbanismo, Sec. XVI e XVII. Óbidos: Câmara Municipal de Óbidos.
Milani, R. (2001). L’arte del paessaggio. Bologna: Il Mulino.
Möbius, H. (1982). Women of the Baroque age. Montclair, NJ: Abner Schram.
Modesti, A. (2015). Elisabetta Sirani “Virtuosa”: Women’s cultural production in early modern Bologna. Ghent: Brepols.
Norman, L. F. (2001). The theatrical baroque: European plays, painting, and poetry, 1575–1725. Chicago, IL: Smart Museum of Art.
Pasto, I. G. (2002). Francisco Barrera (Madrid, 1595-1658). Bodegón de orfebrería, naipes, reloj, copa de vino, bizcochos, tazas de porcelana y caja de carey (c. 1635-1650). In F. Tabar et al. (Eds.), Luces del Barroco. Pintura y escultura del siglo XVII en España. Vitoria: Fundación Caja Vital.
Perym, Damiao de Froes, aka Fray Joao de San Pedro. (1763-1740). Theatro heroino: Abecedario historico, e catalogo das mulheres illustres em armas, letras, acçcoens heroicas e artes libera (Theatre of Heroines: Historical primer and catalog of Illustrious Women in Arms, Letters, Heroic Actions and the Liberal Arts) (2 Vols.). Lisbon: na,
Plato. (1925). Symposium (H. N. Fowler, Trans.). Plato in twelve volumes. Cambridge, MA: Harvard University Press.
Plato. (1952). Timaeus (R. G. Bury, Ed. and Trans.). Cambridge, MA: Harvard University Press, Loeb Classical Library.
Pons, S. S. (1995). Francisco Barrera: aproximación a su biografía. Archivo Español de Arte, 271, 285-298.
Ripa, C. (1593/1603). Iconologia. Rome: Gio Gilotti; Rome: L. Facii.
Ripollés, C. (2016). Josefa de Óbidos e a Invenção do Barroco Português. Hispanic Research Journal, 17(6), 558-560, DOI: 10.1080/14682737.2016.1238224.
Ross, A. C. (1994). A vision betrayed: The Jesuits in Japan and China, 1542-1742. Maryknoll, NY: Orbis Books.
Russell-Wood, A. J. R. (1998). The Portuguese empire, 1415-1808: A world on the move. Baltimore, MD: Johns Hopkins University Press.
Schama, S. (1997). The embarrassment of riches: An interpretation of Dutch culture in the golden age. New York: Vintage.
Schneider, N. (1994). Still life. Still life painting in the early modern period. Cologne: Taschen.
Segal, S. (1988). A prosperous past. The Hague: SDU Publishers.
Segal, S. (1990). Flowers and nature. Amstelveen: Hijnk Publishing International.
Serrão, V. (1993). Josefa de Óbido: e o tempo Barroco. Lisbon: Instituto Portugués do Património Cultural.
Serrão, V. B., von Barghahn, B., & de Moura Sobral, L. (1997b). Josefa de Óbidos. Washington, DC: National Museum of Women in the Arts.
Serrão, V., von Barghahn, B., & de Moura Sobral, L. (1997a). The sacred and the profane: Josefa de Óbidos of Portugal. Lisbon: Gabinete de Relações Internacionais.
Shlain, L. (1991). Art and physics: Parallel visions in space, time, and light. New York: Morrow.
Sobral, L. de M. (2004). Catálogo da Exposição a Pintura Portuguesa do século XVII. Lisbon: Instituto Português de Museus, Museu Nacional de Arte Antiga.
Tiffany, T. J. (2012). Diego Velázquez’s early paintings and the culture of Seville in seventeenth-century Seville. Philadelphia, PA: Penn State University Press.
Turley, S. R. (2014). Awakening wonder: A classical guide to truth, goodness & beauty. Camp Hill, PA: Classical Academic Press.
Watanabe, A. (2023). Japan on the Jesuit stage: Two 17th-century Latin plays. London: Bloomsbury Publishing.
Webster, J. C. (1938). The labors of the months in antique and mediaeval art to the end of the twelfth century. Princeton, NJ: Princeton University Press.