https://earlymoderneurope.hist.sites.carleton.edu/files/original/520d8028c37abb114840913008935cf4.jpeg 067272f92471c1a210c4adef1cf310d6 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Painting (Oil on Canvas) Physical Dimensions The actual physical size of the original image Dimensions Netto : 56.2 x 49.7 cm Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Virgin and Child Creator An entity primarily responsible for making the resource Sofonisba Anguissola Contributor An entity responsible for making contributions to the resource Teddy Wolfe Date A point or period of time associated with an event in the lifecycle of the resource 1542-1623 Description An account of the resource Sofonisba Anguissola was a prominent court painter for Phillip II of Spain, crafting several notable portraits in her time. Her parents encouraged her to receive a humanist education in the arts and sciences and be tutored in painting by prominent artist Bernardino Campi in her early life, which afforded her the opportunity to go to Spain. She maintained a presence there from 1559 to 1580, serving as court painter and lady-in-waiting to Queen Elizabeth of Valois (Perlingieri, 10). She is considered the first Italian woman to gain international recognition for her art (Weisner-Hanks, 158). Beyond just portraits, Anguissola painted several religious scenes throughout her life. This painting in particular is important because it shows how Renaissance styles came from Italy and were modified in Spain. Much of Sofonisba’s work was influenced by her early interactions with Michelangelo, who encouraged her to paint with tense poses and a distinct emotionality. Both are seen in this scene in child Christ’s stoic pose, and Mary’s loving look (Perlingieri, 10). The Virgin and Child was a scene painted/sculpted repeatedly throughout history and multiple copies can be seen at many art museums. Therefore, it also provides a solid point of comparison for observing how accepted Spanish styles differed from others of the era. Anguissola even did other versions of the painting at different points in her life, which included more color and different poses for the pair. One such version can be found in her 1556 self-portrait, which features her painting Mary face to face with the child Christ (Wikimedia). Source A related resource from which the described resource is derived “Virgin and Child.” Europeana Collections. Accessed November 13, 2018. https://www.europeana.eu/portal/record/2020903/KMSsp77.html. “Sofonisba Anguissola.” Wikipedia, November 5, 2018. https://en.wikipedia.org/w/index.php?title=Sofonisba_Anguissola&oldid=867399751. Perlingieri, Ilya Sandra. "Sofonisba Anguissola's Early Sketches." Woman's Art Journal 9, no. 2 (1988): 10-14. doi:10.2307/1358314. Merry E. Wiesner-Hanks, "Cultural and Intellectual Life" in Early Modern Europe, 1450-1789, (Cambridge, UK: Cambridge University Press, 2013), 158 Rights Information about rights held in and over the resource Free Painting Prominent Women Religion Renaissance spain Virgin and Child