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Lavinia Fontana
Self-Portrait in the Studiolo
mk52
1579
Oil on copper,diameter 15.7cm
Uffizi,Florence
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Lavinia Fontana
Noli Me Tangere
mk67
Oil on canvas
31 1/2x25 13/16in
Uffizi,Gallery
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Lavinia Fontana
Self-Portrait
mk67
Oil on copper
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Lavinia Fontana
Self-Portrait
mk68
Oil on wood
10 3/4x9 3/4"
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Lavinia Fontana
Family Portrait
mk68
Oil on canva
33 1/2"x41 1/2"
Milan,Brera Gallery
c.1600
Italy
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Lavinia Fontana
The consagracion to the Virgin one
mk166
1599 I Wave on cloth 280x186cm Museum of Fine Arts
Marseulla
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Lavinia Fontana
Gentleman Portrait
mk261 Bologna 1579 oil on canvas 93.5 x 74.5 cm
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Lavinia Fontana
Self portrait
mk261 Bologna canvas 15.7 centimeters in diameter
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Lavinia Fontana
portratt av familjen gozzadini
1584
se
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Lavinia Fontana
Christ with the Symbols of the Passion
oil on canvas painting by Lavinia Fontana, 1576, El Paso Museum of Art
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Lavinia Fontana
Minerva dressing
1613(1613)
Oil on canvas
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Lavinia Fontana
Minerva dressing
Date 1613(1613)
Medium Oil on canvas
cyf
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Lavinia Fontana
Holy Family with Saints
Oil on canvas, 127 x 104.1 cm
Date 1578(1578)
cjr
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Lavinia Fontana
Assumption of the Virgin
Oil on canvas, 192 x 115 cm
Date 1583(1583)
cjr
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Lavinia Fontana
Holy Family with Saints
Oil on canvas, 127 x 104.1 cm
Date 1578(1578)
cyf
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Lavinia Fontana
Ritratto di ragazza
between 1580(1580) and 1583(1583)
Medium Oil on metal
Dimensions 10 cm (diameter)
cyf
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Lavinia Fontana
Judith with the head of Holofernes.
oil on canvas
cjr
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Lavinia Fontana
Judith and Holofernes.
Oil on canvas; 175,9 x 134,1 cm.
cjr
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| Lavinia Fontana
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Italian Painter, 1552-1614
Daughter of Prospero Fontana. She was trained by her father and followed his Mannerist style. Her first recorded works, which date from 1575, were small paintings for private devotion, such as the Holy Family (Dresden, Gemeldegal.). By 1577 she had become established as a portrait painter in Bologna. Works of this date include the Self-portrait at the Harpsichord (Rome, Gal. Accad. S Luca) and the portrait of Senator Orsini (Bordeaux, Mus. B.-A.). Her portrait style reflects the formality of central Italian models as well as the naturalistic tendencies of the north Italian tradition. The elegantly costumed Orsini is shown seated at a table, with a suite of rooms opening behind him, a setting recalling such Florentine portraits of the 1530s as Agnolo Bronzino's Bartolommeo Panciatichi (Florence, Uffizi). Lavinia used a similar setting for other portraits, including the Gozzadini Family (1584; Bologna, Pin. N.). Female sitters are also shown in elaborate dress, with particular attention paid to details of embroidery and jewels, and they are often accompanied by small dogs
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