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[[Image:Sofonisba_Anguissola_002.jpg|thumb|right|''Emboltred'']]
[[Image:Self-portrait_at_the_Easel_Painting_a_Devotional_Panel_by_Sofonisba_Anguissola.jpg|right|thumb|220px|Sofonisba Anguissola, Emboltred, 1556, Mirdi Lancut, Polska.]]
[[Image:Infantas Isabella Clara Eugenia and Catalina Micaela, 1570.jpg|thumb|right|225px|''Poltred Infantezed Spagn''', [[Isabel Clara Eugenia]] ha [[Catalina Micaela]], merc'hed [[Felipe II]], roue Spagn. ]]
[[Image:Sofonisba Anguissola 001.jpg|thumb|left|225px|''Tri bugel gant ur c'hi'']]
'''Sofonisba Anguissola''', pe '''Anguisciola''' ([[Cremona]] war-dro [[1535]] - [[Palermo]] [[ 16 a viz Du]] [[1625]]) zo ul livourez italian eus ar [[{{XVIvet kantved]]}}. Dont a reas da vezañ livourez ofisiel e lez [[Bro-Spagn]], un dra ral d'ur vaouez en amzer-hont.
Unan eus livourezed kentañ en istor arz Europa e voe Sofonisba Anguissola , goude ma n'eo ket ken brudet ha re all war he lerc'h, evel [[Artemisia Gentileschi]], [[Rosalba Carriera]] pe [[Angelica Kaufmann]].
==He buhez==
Sofonisba Anguissola a oa ganet e [[Cremona]], [[Lombardia]] war-dro 1532. Bugel kentañ an tiegezh e oa, ha pemp c'hoar hag ur breur he dodoa.
He mamm, Bianca Ponzone, a diegezh uhel, a varvas pa oa Sofonisba en he 4 pe 5 bloaz. He zad, Amilcare Anguissola, a oa un den a noblañs izel eus kêr Genoa[[Genova]].
A-hed peder remziad e voe roet da vugale an tiegezh anvioù tud eus istor [[Kartada]] , ha dezhi e voe roet anv [[Sofonisba]].
Ton a roas Amilcare Anguissola d'e c'hwec'h merc'h (Sofonisba, Elena, Lucia, Europa, Minerva ha Anna Maria) da labourat da amprouiñ o donezonoù, hag un deskadurezh a zoare a voe roet dezho. Peder anezho (Elena, Lucia, Europa and Anna Maria) a oa livourezed, met Sofonisba a voe an hini vrudetañ. Elena a eas da [[lean]]ez (Sofonisba a reas ur poltred anezhi) hag a rankas paouez da livañ.
Anna Maria hag Europa a zilezas an arz pa zimezjont, ha [[Lucia Anguissola]], an arzourez wellañ eus c'hoarezed Sophonisba a varvas en he ugent bloaz. Minerva a voe skrivagnerez ha latinegourez. O breur Asdrubale ne reas tamm war-dro al liverezh, pa voe soner, ha latinegour.
Pevarzek vloaz e oa Sofonisba pa voe kaset , a-gevret gant he c'hoar Elena, da studiañ gant [[Bernardino Campi]], ul livour eus ar skol [[Lombardia|lombard]], brudet e boltredoù ha taolennoù relijiel, o chom e Cremona ivez. Pan eas Campi d'ur gêr all e kendalc'has Sofonisba gant he studioù gant al livour [[Bernardino Gatti]], lesanvet ''Il Sojaro''. Lakaat Sofonisba da zeskiñ gant livourien ar c'hornad a oa deroù un oadvezh nevez d'ar merc'hed a grogas dousik da vezañ degemeret evel studierien war an arzoù. Krediñ a reer e chomas da studiañ gant Gatti e-pad tri bloaz (1551-1553).
Pouezusañ labour Sofonisba er mare-se eus he yaouankiz eo ''Bernardino Campi o livañ Sofonisba Anguissola'', graet war-dro 1550, hiziv war ziskouez er ''Pinacoteca Nazionale'', e [[Siena]], ma weler he c'helenner ouzh he foltrediñ.
E 1554, ha hi 22 vloaz, ez eas Sofonisba da [[Roma]], ma kasas hec'h amzer o tresañ traoù ha tud a bep seurt. Eno e reas anaoudegezh gant [[Michelangelo]] a drugarez d'ul livour arall a anave he labour mat.
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they named their offspring after the great general [[Hannibal]], ...
Meeting Michelangelo was a great honor for Sofonisba and she had the benefit of being informally trained by the great master.
[[Image:The Chess Game, by Sofonisba Anguissola, 1555. Oil on canvas. Museum Navrodwe, Poznan, Poland 01.jpg|left|thumb|200px|''Lucia, Minerva and Europa Anguissola Playing Chess'', 1555. Museum Navrodwe, Poznan, Poland.]]
When he made a request for her to draw a weeping boy, Sofonisba drew 'Child bitten by a crab' and sent it back to Michelangelo, who immediately recognized her talent (this sketch would continue to be discussed and copied for the next fifty years among artists and the aristocracy){{Fact|date=October 2008}}.
Michelangelo subsequently gave Anguissola sketches from his notebooks to draw in her own style and offered advice on the results. For at least two years Sofonisba continued this informal study, receiving substantial guidance from Michelangelo.
The great early art historian [[Giorgio Vasari]] wrote this about Sofonisba: ‘''Anguissola has shown greater application and better grace than any other woman of our age in her endeavors at drawing; she has thus succeeded not only in drawing, coloring and painting from nature, and copying excellently from others, but by herself has created rare and very beautiful paintings."{{Citequote|date=October 2008}}
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== Livourez ==
[[Image:Self-portrait_with_Bernardino_Campi_by_Sofonisba_Anguissola.jpg|right|thumb|250px|''[[Bernardino Campi]] o livañ poltred Sofonisba Anguissola'', war-dro dibenn ar bloavezhioù 1550.]]
Sur eo e veze roet muioc'h a don da Sofonisba eget d'ar merc'hed all en hec'h amzer. N'eo ket evit kelo-se e veze lezet d'ober pezh ne oa ket aotreet d'ar merc'hed en he metoù. Hep studiañ ar gorfadurezh na tresañ krorfoù bev n'halle ket stagañ da ober livadurioù bras relijiel pe istorel, ha neveze ket lezet ar merc'hed da welout korfoù noazh. E-lec'h se e klaskas doareoù all da boltrediñ, gant tud lakaetd'en em zerc'hel e doareoù divoas.
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Self-portraits and members of her own family were her most frequent subjects, as seen in such paintings as ''Self-Portrait'' (1554, Kunsthistoriches Museum, [[Vienna]]), ''The Chess Game'' (1555, Museum Narowe, Poznan), that depicts three of her sisters Lucia, Minerva and Europa, and ''Portrait of Amilcare, Minerva and Asdrubale Anguissola'' (c. 1557-1558, Nivaagaards Malerisambling, Niva, Denmark).
== At the Spanish Court ==
When she was already well known, Anguissola went to Milan sometime in 1558, where she painted the Duke of Alba who in turn recommended her to the Spanish king, [[Philip II of Spain|Philip II]]. The following year, Sofonisba was invited to join the Spanish Court, which was the turning point in her career.
[[Image:Isabel de Valois2..jpg|thumb|220px|left|Portrait of [[Elisabeth of Valois|Queen Elisabeth of Spain]] with a ''zibellino''.]]
Sofonisba Anguissola was around twenty seven years old when she left Italy to join the Spanish court. In the winter of 1559-1560 she arrived at [[Madrid]] to serve as a court painter and lady-in-waiting to the new Queen, [[Elisabeth of Valois]], [[Philip II of Spain|Philip II]]’s third wife.
Sofonisba soon gained the esteem and confidence of the young Queen and spent the following years painting many official portraits for the court, including Philip II’s sister Juana, and son, [[Don Carlos, Prince of Asturias|Don Carlos]].
This work was far more demanding than the informal portraits upon which Anguissola had based her early reputation, as it took a tremendous amount of time and energy to render the many intricate designs of the fine fabrics and elaborate jewelry essential to royal subjects. Yet despite the challenge, Sophonisba's paintings of Elisabeth of Valois (and later, of [[Anna of Austria (1549-1580)|Anne of Austria]], Philip II’s fourth wife) are vibrant and full of life.
While in the service of Elizabeth of Valois, Anguissola worked closely with [[Alonso Sanchez Coello]]. So closely in fact, that the famous painting of the middle-aged King Philip II was long attributed to Coello or Pantoja. Only recently has Anguissola been recognized as the painting's creator.<ref>''Museo del Prado, Catálogo de las pinturas'', 1996, p.7 , Ministerio de Educación y Cultura, Madrid, ISBN 8487317537</ref>
== Personal life ==
[[Image:Portrait_of_Philip_II_of_Spain_by_Sofonisba_Anguissola_-_002.jpg|thumb|250px|The Prado Philip II, now recognised as by Anguissola]]
In 1570, Anguissola was thirty-eight and still unmarried. After the death of [[Elisabeth of Valois]], Philip II took additional interest in Sofonisba's future and arranged a marriage for her. Around 1571, she married Don Francisco de Moncada, son of the prince of Paterno, viceroy of [[Sicily]]. The wedding ceremony was celebrated with great pomp, and she received a dowry from the Spanish king. After the wedding the couple traveled to visit her family, as well as her husband's estates, in Italy but eventually returned to Spain. After eighteen years with the Spanish court, Sofonisba and her husband finally left Spain for good with the permission of the King sometime during 1578. They went to Palermo where Sofonisba's husband died in 1579.
At the age of forty-seven, while traveling home to Cremona, Sofonisba met the considerably younger Orazio Lomellino, the captain of the ship she was traveling on. They were married shortly afterwards, in January of 1580, in Pisa.
Orazio recognized and supported her in her artwork and they had a long and happy marriage. They settled in [[Genoa]], where her husband's family lived in their large home. Anguissola was given her own quarters, studio and time to paint and draw.
== Late Years ==
Ozario's fortune plus a generous pension from Philip II, allowed Sofonisba to paint freely and live comfortably. By now quite famous, Sofonisba received many colleagues who came to visit and discuss the arts with her. Several of these were younger artists, eager to learn and mimic Anguissola's distinctive style.
[[Image:Self portrait, 1610.jpg|right|thumb|220px|Sofonisba Anguissola, Self-Portrait, 1610.]]
In 1623, Anguissola was visited by the Flemish painter Sir [[Anthony Van Dyck]], who had painted several portraits of her in the early 1600s, and recorded sketches from his visits to her in his sketchbook. Anthony Van Dyck noted that, although "''her eyesight was weakened''," Sofonisba was still quite mentally alert. Excerpts of the advice she gave him about painting also survive from this visit. Van Dyck drew her portrait while visiting her; this was to be the last portrait made of Sofonisba. The very next year, she returned to Sicily.
In her late period, Anguissola painted not only portraits but religious themes, as she had done in the days of her youth (unfortunately, many of her religious paintings have been lost). She was the leading portrait painter in Genoa until she moved to [[Palermo]] in her last years. In 1620, she painted her last self-portrait.
Contrary to later biographers' claims, she was never entirely blind but perhaps had [[cataract]]s. Sofonisba became a wealthy patron of the arts after the weakening of her sight. She died at age 93, in Palermo in 1625. She was internationally acclaimed and respected throughout her life.
Seven years later, on the anniversary of what would have been her 100th birthday had she lived, her husband placed an inscription on her tomb that reads, in part: <blockquote>''To Sofonisba, my wife ... who is recorded among the illustrious women of the world, outstanding in portraying the images of man ... Orazio Lomellino, in sorrow for the loss of his great love, in 1632, dedicated this little tribute to such a great woman.''{{Citequote|date=October 2008}}</blockquote>
== Style ==
[[Image:Portrait_of_Bianca_Ponzoni_Anguissola,_by_Sofonisba_Anguissola.jpg|thumb|left|The artist's mother, ca 1557]]
The influence of Campi, whose reputation was based on portraiture, is evident in Sofonisba's early works, such as the ''Self-portrait'' ([[Florence]], [[Uffizi]]). Her work was allied to the worldly tradition of Cremona, much influenced by the art of Parma and Mantua, in which even religious works were imbued with extreme delicacy and charm. From Gatti she seems to have absorbed elements reminiscent of Correggio, beginning a trend that became marked in Cremonese painting of the late 16th century. This new direction is reflected in ''Lucia, Minerva and Europa Anguissola Playing Chess'' (1555; Poznan, N. Mus.) in which portraiture merges into a quasi-[[genre works|genre]] scene, a characteristic derived from Brescian models.
The main body of Anguissola's earlier work consists of self-portraits (the many "autoritratti" reflect the fact that portraits of her were frequently requested due to her fame) and portraits of her family. In addition she did not always rely on painting for her livelihood. The self- and family portraits are considered by many to be her finest works.
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Un 50 oberenn bennak a zo bet lakaet war gont Sofonisba. Gwelout anezho a c'haller e [[Bergamo]], [[Budapest]], [[Madrid]] ([[Museo del Prado]]), [[Naplez]], [[Siena]], ha [[Firenze]] en [[Uffizi]].
== Ster istorel==
Kalz a arzourien zo bet levezonet gant oberennoù Sofonisba Anguissola . He foltred eus ar rouanez [[Isabel de Valois]] gant ur ''[[zibellino]]'' (feur ur martr gant ar penn hag an treid en aour) zo bet ur poltred adlivet kenañ e Spagn, betek gant arzourien veur evel [[Peter Paul Rubens]].
(feur ur martr gant ar penn hag an treid en aour) zo bet ur poltred adlivet kenañ e Spagn, betek gant arzourien veur evel [[Peter Paul Rubens]].
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Sofonisba is also important to feminist art historians. Although there has never been a period in Western history in which women were completely absent in the visual arts, Anguissola's great success opened the way for larger numbers of women to pursue serious careers as artists. Some famous successors to her example include [[Lavinia Fontana]], [[Barbara Longhi]], [[Fede Galizia]] and [[Artemisia Gentileschi]].
Sophonisba once said, “Life is full of surprises, I try to capture these precious moments with wide eyes.”
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=== E Spagn ===
=== E Sikilia ===
[[Image:Self portrait, 1610.jpg|thumb|Emboltred e 1610]]
E [[1573]] e timezas d'un noblañs eus Sikilia, [[Fabrizio Moncada]] hag ez eas da chom d'e balez, e [[Moncada]] e [[Paternò]]. Pa varvas he fried war vor e [[1578]], p'edo o vont da ober ur gweled da lez Spagn, e kuitaas Sofonisba Sikilia da vont da [[Liguria]].
Ur chomadenn a reas e [[Livorno]] hag eno ec'h addimezas da [[Orazio Lomellini]], a oa un den a renk uhel eus GenoaGenova, e [[Pisa]] e [[1579]]. E [[1615]] e tistroas gant he fried da b-Palermo, e-lec'h ma en devoa un tamm madoù.
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== La vita ==
Cresciuta nella scuola del pittore lombardo [[Bernardino Campi]], che non faceva parte della nota famiglia di pittori cremonesi dal più celebre Vincenzo, [[Giulio Campi]] e Antonio anche se lo stile di Bernardino si rifaceva agli esponenti di spicco della pittura dell'Italia del nord tra il '500 e il '600, la giovane Sofonisba applicò l'arte di Bernardino Campi rivolgendosi in maniera particolare alla ritrattistica.
Sofonisba Anguissola partecipò come figura di spicco alla vita artistica delle corti italiane data anche la sua competenza letteraria e musicale, ebbe una fitta corrispondenza con i più famosi artisti del suo tempo.
dove lui aveva numerosi interessi, Sofonisba continuò a dipingere nonostante un forte calo della vista, ma alla lunga questo problema le impedì di continuare ad esercitare la sua arte, non prima di raggiungere una grandissima fama tanto che il celebre [[Antoon van Dyck]] succedutogli come ritrattista ufficiale della corte spagnola, confessò tutta la sua ammirazione per l'arte di Sofonisba Anguissola, che incontrò personalmente verso la fine della vita della pittrice, nel [[1624]] a Palermo presso la corte del viceré di Sicilia [[Emanuele Filiberto]] di [[Savoia]].
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Mervel a reas d'ar [[16 a viz Du]] [[1625]], ha beziet e voe en iliz San Giorgio e Palermo, un iliz a oa da ''vroad Genoa'' (''Nazione Genovese''), ma he devoa labouret.
*Chadwick, Whitney, ''Women, Art, and Society,'' Thames and Hudson, London, 1990 ISBN 0-500-20354-7
*Harris, Anne Sutherland and Linda Nochlin, ''Women Artists: 1550-1950'', Los Angeles County Museum of Art, Knopf, New York, 1976 ISBN 0-394-41169-2
*Sylvia Ferino-Pagden, Maria Kusche, ''Sofonisba Anguissola: A Renaissance Woman'', National Museum of Women in the Arts, 1995 ISBN 0-940979-31-4
*Pizzagalli, Daniela, ''La signora della pittura : vita di Sofonisba Anguissola, gentildonna e artista nel Rinascimento'', Milano 2003 ISBN 8817995096
*Orietta Pinessi, ''Sofonisba Anguissola''. Edizione SELENE 2008
==Pennadoù kar==
* [[Anguissola]]
* [[Bernardino Campi]] ;
* [[Bernardino Gatti]] ;
* [[Scacchi]]: un daolenn bet livet gant Sofonisba Anguissola.
== Liammoù diavaez==
* [http://www.artcyclopedia.com/artists/anguissola_sofonisba.html Sofonisba Anguissola en Artcyclopedia]
* [[http://www-english.tamu.edu/pers/fac/phillippy/_women_artists/anguissola/ 29 zaolenn diwar zorn Sofonisba Anguissola]]
==Pennad kar==
*[[Mirdi brezhonek Sofonisba Anguissola]]
{{Commons|Category:Sofonisba Anguissola}}
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