Theory of Ethics

Anguissola never became a captain painter in the sense of one who worked for hire. As a member of the upper classes she always remained a dilettante, one who multicolored for pleasure rather than for money, and most of her paintings were done as gifts. nevertheless the Anguissola family was not wealthy and had great difficulty in producing the dowries mandatory to marry six daughters. It was the "iron rule, at least in patrician circles, that the bride had to contribute to the upkeep of the new household." Thus her develop as a painter was meant to aid in securing an assignment at a courtroom--where she would be supported and earn the money, in a suitable courtly position, that would enable her to marry. In her eventual(prenominal) position as a lady-in-waiting at the Spanish court Sofonisba earned an "ordinary" salary and payments for "extraordinary expenses," but, more importantly, she ultimately earned a lifetime pension.

The 1592 painting of the Holy Family, which is the break d experience dated work by the artist, is from the period when Anguissola had returned to Italy after 14 long time at the Spanish court. She had married a Genovese ship's captain, Orazio Lomellini, a man of somewhat lower social standing. They lead busy and interesting lives in which "artists and literati were frequent visitors." Sofonisba's visits to various courts provided champaigns for her portraits and her c

Another reason why the subject seems to be Elizabeth rather than Anne is the styles of the two painters involved. The painting was copied from a at sea version of the same subject by Cambiaso. This is known because copies of the film by other painters exist and identify Cambiaso as the pilot film author of the composition. Cambiaso was one of the Counter-Reformation painters who employed the so-called "new objectivity," in which the sacred events were painted in convincing, realistic detail. The originals of other annals religious paintings by Anguissola are also known. And, in creating her own versions of these works, she favored a gentler, less hard-edged style.

Her own "soft proficiency" was applied to "pleasing devotional motifs and scenes from the life of the Christ Child." On the one hand, Cambiaso, striving for realism, would have presented a logical concourse of mess since this was intended to be a scene representing something that had real taken place. He would not, therefore, be likely to show the really young John without his fetch. On the other hand, Anguissola, who was interested in domestic scenes also would not have been likely to enlighten the little child from his mother. For either painter, of course, the repetition of the mother-and-son motif in Mary-Jesus and Elizabeth-John would also serve to heighten the focus on the mother and son relationship. None of the elements in the picture seems to indicate that it is Anne who is shown, and the detail point more strongly to Elizabeth and her son as the people who sit with the Holy Family.

May, Herbert G., and Bruce M. Metzger, eds. The Oxford Annotated Bible With the Apocrypha. New York: Oxford University Press, 1965.

There is no reason why those who are believers should not be go to contemplate the same things the artist pointed out 400 years ago. And twentieth-century viewers who are not believers in this religion can, of course, receive the poignancy of the scene if they a
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