Sofonisba's Lesson - by Michael W Cole (Hardcover)
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<p/><br></br><p><b> About the Book </b></p></br></br>"Within a span of seven or eight years in the 1550s, the Italian painter Sofonisba Anguissola produced more self-portraits than any known painter before her had in a lifetime. She was the first known artist in history to take her parents and siblings as primary subject matter, and may have painted the first group portrait featuring only women. Cole examines Sofonisba's paintings as expressions of her relationships and networks, looking at why Sofonisba was able to become a great woman artist: at her father, who decided to allow her to be educated as a painter; at her teacher, Bernardino Campi; and at her relationships with her students, sisters, and patrons, who included the Queen of Spain. Cole demonstrates that Sofonisba made teaching and education a central theme of her painting. The book also provides the first complete catalogue of all of Sofonisba's known works"--<p/><br></br><p><b> Book Synopsis </b></p></br></br><p><b>The formation and career of the first major woman artist of the Renaissance</b> <p/>Sofonisba Anguissola (ca. 1535-1625) was the daughter of minor Lombard aristocrats who made the unprecedented decision to have her trained as a painter outside the family house. She went on to serve as an instructor to Isabel of Valois, the young queen of Spain. <i>Sofonisba's Lesson</i> sheds new light on Sofonisba's work, offering a major reassessment of a Renaissance painter who changed the image of women's education in Europe--and who transformed Western attitudes about who could be an artist. <p/>In this book, Michael Cole demonstrates how teaching and learning were central themes of Sofonisba's art, which shows women learning to read, play chess, and paint. He looks at how her pictures challenged conventional ideas about the teaching of young girls, and he discusses her place in the history of the amateur, a new Renaissance type. The book examines Sofonisba's relationships with the group of people for whom her practice was important--her father Amilcare, her teacher Bernardino Campi, the men and women who sought to be associated with her, and her sisters and the other young women who followed her path. <p/><i>Sofonisba's Lesson</i> concludes with a complete illustrated catalog of the more than two hundred known paintings and drawings that writers have associated with Sofonisba over the past 450 years, with a full accounting of modern scholarly opinion on each.</p><p/><br></br><p><b> Review Quotes </b></p></br></br><br>Shortlisted for Apollo's Book of the Year 2020<br><br>[<i>Sofonisba's Lesson</i>] is well written and an enjoyable read. . . . It is recommended that this book should be in every library - college or public - that has art history in its scope. It is also of great use to courses that cover the Renaissance and its material, intellectual, and social culture.<b>---Stephen J. Bury, <i>ARLIS/NA Reviews</i></b><br><br>A substantial monograph that opens at the poignant moment when Sofonisba 'left her father's home' to study art.<b>---Deborah Solomon, <i>New York Times</i></b><br><br>Cole makes a strong case for Sofonisba being one of the most significant artists of the 16th century.<b>---Caroline Campbell, <i>London Review of Books</i></b><br><br>Cole's book carefully and with historical rigour suggests what at 16th-century feminist might have looked like, while offering a compelling example of feminist art history for the present day.<b>---Alexander Marr, <i>Apollo</i></b><br><br>Sofonisba's Lesson tells the story of how it was possible for a young Cremona woman to make a name for herself in the competitive man's world of 1550s Italy and further afield in Spain . . . Having run through the biographical information intrigued and entranced, the reader will hit upon the catalog of works without even realizing it; Cole writes with a style that is both thought-provoking and relatable, his subject matter indelibly endearing.<b>---Cindy Helms, <i>New York Journal of Books</i></b><br><br>Sofonisba Anguissola (c1534-1625) is often identified as one of the first great Renaissance women artists, yet there has not been a scholarly monograph in English on her since Ilya Sandra Perlingieri's <i>Sofonisba Anguissola: The First Great Woman Artist of the Renaissance (1992). </i>Thus, this fascinating book is a welcome addition to the literature . . . [T]his book makes a significant contribution to better understanding of Anguissola's oeuvre. Directed toward a scholarly audience (for example, some Italian phrases go untranslated), this beautiful catalogue is an important study of a groundbreaking artist.-- "Choice"<br><p/><br></br><p><b> About the Author </b></p></br></br><b>Michael W. Cole</b> is professor of art history and archaeology at Columbia University. His recent books include <i>A New History of Italian Renaissance Art</i> with Stephen J. Campbell and <i>Leonardo, Michelangelo, and the Art of the Figure</i>. He lives in New York City.
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