River Landscape Annibale Carracci (Italian; 1560–1609) ca. 1590 Oil on canvas National Gallery of Art, Washington, D.C.

Two Skulls In A Window Niche, by Hans Holbein The Younger (German, 1497-1543), 1520

Attributed to Ambrosius Benson (Italian, c. 1495-1550) • Elegant Company with musicians seated at a table in a landscape • Oil on panel • Private collection

Sofonisba Anguissola - Profile Portrait of a Young Woman (late 16th century)

Juno, 1596

By Hendrick Goltzius

Self-portrait at an Easel, Sofonisba Anguissola (1556). Łańcut Castle in Poland.

Giuseppe Arcimboldo (Italian, 1527–1593) • Emperor Rudolf II as Vertumnus, the Roman God of the Seasons • c. 1590

Annibale Carracci

(b. 1560 - d. 1609)

A 16th century italian painter centered in Bologna, the capital of Emilia-Romagna. Annibale, his cousin, and his brother, but mostly Annibale founded a super popular form of the baroque style.

"The Choice of Hercules"

Christ and the Samaritan Woman

The stoning of St. Stephen

Portrait of nobleman by Leandro Bassano (1567-1622)

Portrait of a Young Man (Portrait of a Gentleman in His Study) Lorenzo Lotto (Italian; ca. 1480–1556) ca. late 1520s Oil on canvas Gallerie dell’Accademia di Venezia, Venice, Italy

Two (2) silly little guys for a thing on Instagram will you trust them your Majesty

El Greco (Spanish, 1591-1614) St. Louis, King of France and a Pageboy • 1592–1595 • Louvre, Paris

Sofonisba Anguissola - Portrait of Prince Alessandro Farnese (ca. 1560)

Florentine Painter (possibly Jacopo Zucchi, Italian, 1541–1590) Portrait of a Woman, mid-16th century

The Garden of Earthly Delights, Hieronymus Bosch (c.1500) Museo del Prado in Madrid

Lavinia Fontana, (born 1552, Bologna—died August 11, 1614, Rome), was an Italian painter of the Mannerist school and one of the most important portraitists in Bologna during the late 16th century. She was one of the first women to execute large, publicly commissioned figure paintings.

Considered the first professional woman artist, Lavinia Fontana worked within the same sphere as her male counterparts. She earned a living through her art and broke barriers. She made great strides in the field of portraiture, which garnered her fame within and beyond Italy. In fact, Fontana is regarded as the first woman artist, working within the same sphere as her male counterparts, outside a court or convent.

At age 25, Fontana married a fellow painter from a noble family, who acted as his wife’s assistant and managed their growing household (the couple had 11 children, only three of whom outlived their mother). For 20 years beginning in the 1580s, Fontana was the portraitist of choice among Bolognese noblewomen. She also painted likenesses of important individuals connected with the University of Bologna.

Fontana’s fame spread to Rome, where she moved in 1604. There she became a portraitist at the court of Pope Paul V and was the recipient of numerous honors, including a bronze portrait medallion cast in 1611 by sculptor and architect Felice Antonio Casoni.

Lavinia Fontana depicted the Bolognese noblewoman Costanza Alidosi seated in a sparsely, yet luxuriously, furnished interior. In the upper left, a courtyard and two open doorways are visible, giving the painting depth and perspective. The life-size figure of Alidosi occupies the entire height of the painting. Fontana angled Alidosi’s body toward the viewer, simultaneously giving the portrait a sense of intimacy and power. The artist, known for her skill at rendering fabric and jewelry, portrays Alidosi’s dress meticulously, particularly the details of the gold embroidery on the skirt and bodice. Fontana’s talent for depicting textures is evident in the fringe on the red velvet chair and the sitter’s lace collar.

Alidosi was married in 1571 to the nobleman Ridolfo Isolani. As a senator and an associate of the Medici family in Florence, he was often away from home, leaving his wife to attend to business in Bologna. It was most likely during one of these absences that Alidosi commissioned Fontana to paint her portrait, possibly as a display of her power and autonomy. Ridolfo is referenced obliquely: both the dog on Alidosi’s lap and the juniper blossoms tucked in her bodice likely symbolize her fidelity to her husband.