Elisabetta Sirani, Self Portrait, C. 1658.
Elisabetta Sirani (1638-1665) was a Bolognese painter who inspired the veneration of many in her own day. When examined within her historical and societal contexts, her prolific, though brief career proves to be more extraordinary than one might suppose. As a distinguished and talented artist, her legacy as both painter and art educator is one of consistent excellence. Sirani was truly a fascinating personality in the history of Italian Baroque art. By engaging in an inquisitive study of her success as an artist and businesswoman, along with the societal climate towards female artists, one can truly appreciate the magnitude of her achievements. Sadly, like many a brilliant star whose supernova arrived too soon, her career came to a tragic and untimely end. Sirani helped to pave the way for women artists to take their rightful place in the canon of Western Art. To truly understand the extent of her accomplishments, it is necessary to examine her life, career, business practices, and lasting legacy.
A native of Bologna, Italy, Elisabetta Sirani was born into an artistic family. Both her father, Gian Andrea Sirani, and her sisters Barbara and Anna Maria were painters. Her father was a close follower of Guido Reni, the foremost Bolognese painter at the time. Despite his own career as an artist, Sirani’s father was not of a mind to train his daughter Elisabetta to follow in his profession. Indeed, it was Carlo Cesare Malvasia, a close family friend, who ultimately succeeded in convincing Gian Andrea of Elisabetta’s artistic merits and potential. Malvasia later became the biographer of Elisabetta Sirani. (Nochlin, Linda, & Ann Sutherland Harris. 1976. Pg. 147). At age seventeen, Sirani began her training as an artist. It was not long before she proved herself to be a painter of abundant talent and promise. Women artists were still not a common occurrence at the time; however, it would not have been a completely preposterous idea for her to become a painter, as there was already something of a lineage of women artists in Bologna. These pioneering women included Properzia de’ Rossi, a sculptor whose biography was written by Giorgio Vasari, and Lavinia Fontana, a Bolognese painter, about whom Malvasia had written. (Nochlin, Linda, & Ann Sutherland Harris. 1976. Pg. 147). In spite of Gian Andrea’s reservations regarding his daughter’s artistic training, he would have recognized the potential benefits to himself and his family. It would have been advantageous to train Elisabetta as a painter, because it was the societal norm for a father to provide a dowry to his daughter’s future husband. Elisabetta was one of two sisters, therefore making her monetary self sufficiency a positive attribute. Additionally, it was becoming an increasingly widespread practice for artists to pass their art training to their daughters, thus allowing them to contribute to a more substantial dowry. (Nochlin, Linda, & Ann Sutherland Harris. 1976. Pg. 28). No doubt Sirani’s father considered his decision to heed Malvasia’s suggestion fortuitous, when his gout became increasingly acute. Eventually, Gian Andrea’s illness rendered him unable to work, and it was Elisabetta who became the primary source of income for her father and two sisters. Sirani successfully provided her family with all the comforts of domesticity, by selling her paintings and teaching pupils from her home. (Nochlin, Linda, & Ann Sutherland Harris. 1976. Pg. 28).
Elisabetta Sirani opened and operated an art school in her family’s home. The clientele to whom she exclusively catered were young women. During Sirani’s lifetime, those seeking to become professional artists were apprenticed to a master, with whom they would learn and hopefully perfect a variety of artistic skills. Upon completion of their training, they were free to establish their own studio workshop, and likewise take on their own apprentices. Sirani’s art school was, therefore, a somewhat individual enterprise at a time when most establishments for art training were operated by men, for men. Women were not expected, and in fact discouraged from pursuing any kind of career. They were not encouraged to enter the realms of artistic training, or academia. Since the Renaissance, artists were encouraged and expected to possess an education in liberal arts, mathematics, and ancient Classical art. This expectation alone presented a problem for women who sought to become visual artists.
An artist’s deep understanding of ancient Classical art was expected to result from close study of ancient texts, as well as the physical art works. Many of these celebrated works of art with which artists were encouraged to be familiar were found in Rome. This presented yet another issue, as it was not customary for women to travel with the same freedom as a man. The combination of these qualifications, made it somewhat prohibitive for women artists to match the qualifications of their male counterparts. (Nochlin, Linda, & Ann Sutherland Harris. 1976. Pg. 21). Some even went as far as to promote the suggestion that women were intellectually and creatively inferior to men. It was a prevalent belief, that women were primarily to preside over the domains of domesticity and child rearing. (Nochlin, Linda, & Ann Sutherland Harris. 1976. Pg. 13). During the time of the Renaissance, depictions of the idealized human figure were considered to be the apogee of artistic achievement. Such prowess would certainly require extensive study and observation of the human anatomy. This study would inevitably include the nude, male figure. It was thought by many that a thorough education in the arts was unseemly and indecent for decorous young women. Thus, there were many obstacles which prevented women from becoming professional artists and art educators. (Nochlin, Linda, & Ann Sutherland Harris. 1976. Pg. 21). Due to the gaps in education for female artists, especially in the area of the human anatomy, women were largely restricted to painting portraits and still lives. Even among these portraits, the likenesses of women and children were most prevalent. (Nochlin, Linda, & Ann Sutherland Harris. 1976. Pg. 41). Remarkably, Sirani did not seem to confine herself to traditional female subjects. She painted a number of portraits, as well as religious, allegorical, mythological, and historical paintings. It was rather unheard of at the time for a female artist to paint subjects with lofty narrative, or merit. (Nochlin, Linda, & Ann Sutherland Harris. 1976. Pg. 148). This is indeed a testament to her versatility, tenacity, and skill as an artist. Sirani’s work has often been described as heavily derivative of Bolognese painter Guido Reni. In reality, her work is characterized by her own distinct brushwork , forceful tonality, vivid color palette, and painterly washes, that are simply not seen in Reni’s paintings. (Nochlin, Linda, & Ann Sutherland Harris. 1976. Pg. 147). Despite the odds, Elisabetta’s enterprise proved to be successful, and she attracted a significant number of pupils. These pupils primarily included young noble women, daughters of noblemen, wealthy young women, and of course, daughters of printmakers and painters. In Castiglione’s Book of the Courtier, he described all of the skills and behaviors that enhanced a woman to be marriageable to a nobleman. The book’s prevalence and popularity resulted in the emulation of these noble women’s educations among the daughters of wealthy merchants and like gentry. The quality of academic rigor with which a young woman would be educated remained inferior to that of a young man; however, it was the commencement of progress in both art and general education for women. It is not an outrageous assertion that it was Castiglioni who had an impactful influence over the ideas regarding the education of young women. It began to be accepted, and even celebrated for young women to be schooled in painting. (Nochlin, Linda, & Ann Sutherland Harris. 1976. Pg. 24). These societal shifts in part caused by Castiglioni’s writings may help elucidate the marked success of Elisabetta Sirani’s drawing school. (Nochlin, Linda, & Ann Sutherland Harris. 1976. Pg. 41). Ginevra Cantofoli seems to have been one of her more talented and successful pupils. Cantofoli later became a painter in her own right. (Nochlin, Linda, & Ann Sutherland Harris. 1976. Pg. 47).
Elisabetta Sirani’s career as a prolific painter was distinguished by excellence, intelligence, and vigor. Indeed, over the course her approximately ten year career, she painted roughly two hundred paintings. (Fortunati, Vera, Claudio Strinati, and Jordana Pomeroy. 2007. Pg. 57). It is generally presumed that her career as a painter commenced at the age of seventeen. She remained steadfast, with diligence to her craft until her tragic death at the age of twenty seven. (Laura Jacobus. Web. 9 Aug. 2017). Sirani’s financial success is indicative of one who possessed a shrewd business sense. She appears to have been brilliant at running a successful business, without forsaking the expectations and confines of women in her society. Sirani kept exemplary records, through which one is able to gain insight into her remarkable career and financial situation. It is generally an easy task to determine the legitimacy of her paintings, because she signed and dated the majority of her works. This is a practice in which many of her most celebrated male counterparts did not consistently engage. (Fortunati, Vera, Claudio Strinati, and Jordana Pomeroy. 2007. Pg. 50). Additionally, Sirani kept a catalog of her paintings, along with the names of the patrons to whom they were sold. The list has proved itself to be a useful tool, by which her work can be authenticated . (Fortunati, Vera, Claudio Strinati, and Jordana Pomeroy. 2007. Pg. 50). An intriguing aspect of her list, is that Sirani seems to have omitted the names of less prestigious patrons. This suggests that she carefully and consciously nurtured a public image and truly understood how to market herself. Sirani rarely specified the financial compensation with which she was provided for her work. Most often, she received gifts or goods in exchange for her paintings. Only on occasion when the gifts were of an exceptional nature, did she specify the details. It was considered to be far more appropriate for women to receive gifts for their work rather than actual currency. By shrewdly conducting her business in this manner, Sirani was able to successfully preserve her image of femininity and virtue. (Fortunati, Vera, Claudio Strinati, and Jordana Pomeroy. 2007. Pg. 28). It is from her own records that we know the rapid manner in which her career developed. In her first year of serious painting Sirani completed two paintings. The following year, the emergent Sirani more than doubled her production to five paintings. This was succeeded by an impressive total of eighteen paintings the following year. By the young age of twenty-four, Sirani had finished nearly ninety paintings. (Nochlin, Linda, & Ann Sutherland Harris. 1976. Pg. 147). This steady pattern of increase and growth is indeed a testimony to her great talent and tenacity as an artist. Between the ages of twenty-four and twenty-seven, her records reveal that she painted an astounding number of eighty additional paintings. (Nochlin, Linda, & Ann Sutherland Harris. 1976. Pg. 147). The rapidity with which she completed these paintings, exemplifies a young woman who was truly dedicated to her profession. It is obvious from the speed and quality with which she painted, that Sirani possessed an intrinsic gift for painting. Indeed, her art reveals her prodigious skill.
In addition to her catalog and record of patrons, Sirani kept account of the steady stream of visitors who came to watch her paint. Many of the visitors were persons of prominence. These visitors were not only from her hometown of Bologna but from Florence, Mantua, Turin, and even beyond Italy. They were drawn from far and wide like moths to a lamp to observe the bravura of the young woman at work. (Nochlin, Linda, & Ann Sutherland Harris. 1976. Pg. 148). Elisabetta Sirani was one of very few female artists of her time to accrue international success. (Nochlin, Linda, & Ann Sutherland Harris. 1976. Pg. 42). Sirani earned the attention as well as the commissions of many wealthy, prominent patrons. In addition to the work she completed for private patrons, she received a number of public commissions. Among these public commissions was the Baptism for the Campo Santo, or Holy Field, the primary cemetery in Bologna. It would have, therefore, been a prominent and important commission for Sirani. All who passed through the Campo Santo would have had the opportunity to notice and admire her work. (Nochlin, Linda, & Ann Sutherland Harris. 1976. Pg. 148).
Among her most eminent visitors was The Grand Duke Cosimo de Medici, who traveled in May of 1664 to her studio in Bologna. Evidently pleased by what he observed, he commissioned three paintings to give to his uncle Prince Leopoldo de Medici: Allegory of Justice, Charity, and Prudence. Unfortunately, Charity and Prudence are both lost. (Fortunati, Vera, Claudio Strinati, and Jordana Pomeroy. 2007. Pg. 57). Sirani received the gift of a silver cross, encrusted with fifty-six, glimmering diamonds from Leopoldo de Medici in return for the three allegorical paintings. (Fortunati, Vera, Claudio Strinati, and Jordana Pomeroy. 2007. Pg. 28). Due to her close familiarity with the Medici Family, and presumably their art collection, it is not an outrageous assumption to think that she may have been influenced by Artemisia Gentileschi. (Fortunati, Vera, Claudio Strinati, and Jordana Pomeroy. 2007. Pg. 57). It is thought by some that she may have been familiar with the work of Gentileschi, through her correspondence with Marchese Ferdinando Cospi, the agent through whom the Medici family dealt with Bolognese artists. It is thought that she never saw Gentileschi’s work in person, but likely read visual descriptions of her art. (Fortunati, Vera, Claudio Strinati, and Jordana Pomeroy. 2007. Pg. 57). Although Sirani received commissions from both Bolognese and Florentine patrons, she never left Bologna. Sirani divulged in her writings how she painted a Madonna and Child for The Grand Duke Cosimo de Medici, during his stay in Bologna. She added in an amusingly braggadocious manner, that she had adequate time for the painting to dry, before the duke’s return journey to Florence. (Nochlin, Linda, & Ann Sutherland Harris. 1976. Pg. 148). Because the Medici Family generally conducted business with Bolognese painters via their proxy Cospi, it is a grandiose testament to her growing repute that The Grand Duke himself visited her studio.
The circumstances surrounding the death of Elisabetta Sirani are shrouded in mystery. Indeed, they have never been explained in entirety. Her death occurred in the year 1665, at the age of twenty-seven years old. The cause and specifications of her illness have never been determined, however, historians and doctors alike believe that her ailment was of the stomach. It is widely believed that the condition was something associated with bleeding, perforated stomach ulcers. Holes were discovered in the lining of her stomach at the time of her autopsy. (Fortunati, Vera, Claudio Strinati, and Jordana Pomeroy. 2007. Pg. 57). Sirani’s distraught family were expeditious in accusing a household maid servant of being responsible for their beloved’s death. The unfortunate servant was promptly accused and tried for poisoning her mistress. She was convicted and sentenced to exile upon her admission to adding an unknown powdery substance to Sirani’s soup. It is not, however, clear if the servant was indeed guilty. She claimed to have been given the powder by another, who vowed it was only sugar and cinnamon. (Nochlin, Linda, & Ann Sutherland Harris. 1976. Pg. 148). No conclusive evidence has ever been found to accuse or absolve her with any certainty. It is, therefore, impossible to determine the exact causes of Sirani’s death. It is likewise impossible to assign definite blame for the tragic events that transpired. It has been outrageously suggested that the strain of maintaining a successful career as an artist proved too much for Sirani’s feminine sensibilities. It was likewise suggested that a clandestine or tumultuous love affair may have added undo stress and strain on her mental health. Both of these suggestions are erroneous, and naught but wild and misinformed speculations. (Nochlin, Linda, & Ann Sutherland Harris. 1976. Pg. 148). One may only imagine the heights to which her career would have soared had she not met with such an untimely, sudden, and premature death. Her illustrious list of patrons inspires curiosity regarding who might have been future clients. The level of success and admiration received by Sirani, even in her own lifetime would suggest a certain degree of progressive liberalism in Bolognese society. They seemed to have publicly embraced both the artist and her work, despite the fact that she was female. (Fortunati, Vera, Claudio Strinati, and Jordana Pomeroy. 2007. Pg. 52). Indeed, many consider Sirani to be the most celebrated of the Bolognese painters after Guido Reni. It was said that her funeral was on a parallel plane of pomp and grandeur with Reni’s. Sirani was even buried along side of Guido Reni in the Guidotti Chapel in the Church of San Domenico. This is something that would have undoubtedly dismayed Reni, as he was reputed to be a man of a misogynistic philosophy. He would certainly not have conceded to a women being his equal in painting. (Fortunati, Vera, Claudio Strinati, and Jordana Pomeroy. 2007. Pg. 57). Carlo Cesare Malvasia, family friend and biographer to numerous Bolognese artists of the seventeenth century, wrote a lengthy, glowing, memorial biography of Elisabetta Sirani. It is from this biography we can draw many details of her life and career. Indeed, although both her life and her career were all too brief, they were surprisingly well documented. This is perhaps a result of her biographer’s close connection with the Sirani Family. In his biographical ode to Sirani, Malvasia called her “la gloria del sesso donnesco,” or roughly translated, the glory of the sex of women. (Nochlin, Linda, & Ann Sutherland Harris. 1976. Pg. 147). Malvasia was quite evidently not the only one with whom Sirani established a glowing report. It was said that her funeral was a grand occasion in Bologna. Her death moved Gio Luigi Picinardi to compose his funerary oratory entitled: IL Pennello Lagrimato: Orazione Funebre, or The Weeping Paintbrush. (Nochlin, Linda, & Ann Sutherland Harris. 1976. Pg. 147). It was discovered by the historian Morselli, that Sirani’s paintings were appraised at equitable and exceeding monetary amounts, to venerated male painters from Bologna. A painting found only five years following her death was appraised at five hundred Bolognese Lire. A similar painting by Guercino in the same collection, was appraised at one hundred and ninety Bolognese Lire. (Fortunati, Vera, Claudio Strinati, and Jordana Pomeroy. 2007. Pg. 28). Perhaps these are all among the finest tributes the Bolognese people could pay Sirani. Her career and legacy helped ease the way for the many women painters and art educators who followed. Elisabetta Sirani is an artist of incomparable brilliance, who maintained a vital career that was limited only by her untimely death.
Bibliography
Fortunati, Vera, Claudio Strinati, and Pomeroy Jordana. Italian Women Artists : from Renaissance to Baroque . 1st ed. Milano, New York: Skira, Rizzoli International., 2007. Print.
Jacobus Laura. “Sirani, Elisabetta.” Grove Art Online. Oxford Art Online. Oxford University Press. Web. 9 Aug. 2017. http://www.oxfordartonline.com/subscriber/article/grove/art/T078979
Nochlin, Linda , and Harris, Ann Sutherland. Women Artists 1550-1950 . 1st ed. Los Angeles, New York: Los Angeles County Museum of Art, Random House , 1976. Print
Stokstad, M., & Cothren, M. W. (2014). Art History (5th ed.). Upper Saddle River: Pearson.
Stories From The Gallery 