Renaissance and Reformation society in Italy, examining the roles of women artists and women patrons

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Acknowledgement

I would take this opportunity to thank my research supervisor, family and friends for their support and guidance without which this research would not have been possible.

DECLARATION

I, [type your full first names and surname here], declare that the contents of this dissertation/thesis represent my own unaided work, and that the dissertation/thesis has not previously been submitted for academic examination towards any qualification. Furthermore, it represents my own opinions and not necessarily those of the University.

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Abstract

The most prevalent theory concerning women artists and feminism in negative guise is that they represented an alternative to the conventional mode of self-representation in the seventeenth century, the learned-gentleman artist or Pictor doctus, the artistic ideal promoted during the Renaissance. Dissolute women artists were far from “Quietness” and today we understand these artists to have been far from “Obscene” When these self-portraits are mentioned in art literature, sales records and inventories, hardly a bad word is said about them. These paintings were clearly understood by the public and were widely praised and collected, and the artists who painted them were greatly esteemed. It is clear a keen market for portraits of artists existed in the seventeenth century, attested by the substantial number of selfportrait collections and engraved portraits of artists that circulated in print. Both of those outlets were associated with self-portraits of artists in the conventional guise of the pictor doctus, reflecting the artist's elevated status, education and skill.

Table of Contents

CHAPTER 1: INTRODUCTION2

Background of the study2

Problem Statement2

Research Aims and Objectives3

Significance of the Study3

Rationale/ Nature of the study3

Hypothesis/Research Question4

CHAPTER 2: LITERATURE REVIEW5

Theoretical framework5

CHAPTER 3: METHODOLOGY23

Research Design23

Literature selection criteria23

Search technique23

Theoretical framework24

CHAPTER 4: DISCUSSION AND ANALYSIS25

CHAPTER 5: CONCLUSION35

REFERENCES39

Chapter 1: Introduction

Background of the study

Renaissance and Reformation society in Italy, the study examines the roles of women artists and women patrons. Against a backdrop of feminist art history and will reflect on the spaces of women in an evolving Catholic society and explore the ways women shaped art produced by both male and female artists (including Properzia de' Rossi, Sofonisba Anguissola, and Artemisia Gentileschi). Did the art men made for women differ from that which women made for other women? And should the contributions of these women be considered major or minor? women painters and feminists indicate that artists were readily identified in dissolute guise, even though the mode varied from feminism.

Problem Statement

The question to consider is that what the male artists make for the women artists differ from that which women made for other women? And should the contributions of these women be considered major or minor? Women painters and feminists indicate that artists were readily identified in dissolute guise, even though the mode varied from feminism.

Research Aims and Objectives

To figure out the renaissance and Reformation society in Italy, examining the roles of women artists and women patrons. Against a backdrop of feminist art history it will reflect on the spaces of women in an evolving Catholic society and ...