Josefa de óbidos wikipedia

Hulpmiddelen Hulpmiddelen. In andere projecten. Wikimedia Commons Wikidata-item. Werken [ bewerken brontekst bewerken ]. Erkenning [ bewerken brontekst bewerken ]. Tentoonstellingen [ bewerken brontekst bewerken ]. ISBN Natureza morta com bolos. Madalena Penitente. Santa Catarina discutindo com os Doutores de Alexandria. Catarina de Alexandria. Catarina de Alexandria Madona e o Menino.

Cordeiro Pascal. Cesta com Cerejas, Queijos e Barros. O Cordeiro Sacrificial. Retrato de Faustino das Neves. Natureza morta com melancia e uvas. Retrieved 20 July The sacred and the profane: Josefa de Obidos of Portugal. ISBN X. OCLC Archived from the original on 14 March Retrieved 5 March MA thesis, University of Porto. Retrieved 16 December Porto Canal.

The antiquity of the art of painting. New Haven: Yale University Press. Theatro heroino, abecedaria historico, e catalogo das mulheres illustres em armas, letras, accoens heroicas, e artes liberaes. Lisboa Occidental. Josefa d'Obidos in French. The composition is dominated by burnt orange and deep teal, and the scene is illuminated by a central candle held by one of the angels.

Caetano, asserts that this is one of Ayala's most interesting paintings, and one of the finest examples of her skilled use of tenebrism. Its subject matter, and the affectionate style in which it is represented. Nevertheless, and even in Portugal as troubled as it was in the 17 th century, still having to deal with questions of independence, there was space for artistic manifestations, so necessary to give color and shape to the History that was being made.

It is in this context that the Siglo de Oro [Golden Age], in Spain, gives rise to a very strong baroque, inheriting the evolutions already decoded by France, Austria and Italy. Already in Portugal, it was a baroque that was isolating itself, in the project of its independence, wearing a grandeur almost greater than the country itself". Catarina de Ayala y Cabrera.

Baltazar adopted a tenebrist style that was a feature of Spanish Baroque painting. Figueira did not find commercial success as a painter and was arrested for debt in Historian Lucas Brandao writes, "this departure would not have taken place without first being sponsored by Francisco de Herrera, the founder of the School of Seville, a pictorial movement that would be so influential in the development of Western European painting.

In fact, its influence on Josefa's own painting can be seen, who also adopted the Baroque and the perfection of its expressions as a bulwark of her creation". Her father also owned an impressive collection of prints; father and daughter studied these for artistic inspiration. She formally apprenticed under her father, learning to paint landscapes, still lifes, and religious works.

Produced while she was still residing at the convent, they were highly skilled engravings of St. Catherine and St. Inshe completed her first signed paintings, which included a small work on copper of the Mystical Marriage of St. There, she executed an allegory of Wisdom to be josefa de óbidos wikipedia in the Novos Estatutos da Universidade de Coimbra the Book of Rules for the University of Coimbrafor which her father, who was by now a highly regarded painter himself, was designing the frontispiece.

She also painted the portraits of members of the Portuguese royal family. As her reputation continued to grow, noble women, having visited the nearby thermal baths, often made a point of visiting her studio. She never married and is thought to have lived her life as a virgin and managed to live comfortably and independently from the earnings from her paintings.

She also made a shrewd businesswoman, purchasing and leasing land and acting as a money lender. She adds, however, that an "intriguing and somewhat puzzling" aspect of her life story is that "the artist is said to have been invited to serve the Queen at the Portuguese court [yet] despite the advantages of such a position [she] evidently turned it down".

Dobbs states, one "wonders if the public reaction to and royal demands on Ayala as a painterly 'curiosity,' noted twice by the biographer, might have been uncongenial to her apparently introspective nature". Her sister Luisa, with whom she was closest, and who had been sickly since childhood, died on January 1, According to Joaquim Oliveira Caetano, director of the Museu Nacional de Arte Antiga in Lisbon, "From then on, Josefa's painting seems to have turned again to smaller formats painted on copper, and to the still-life models [ These reveal the artist's humble free of symbolism relationship with everyday objects.

She passed away on July 22,at the age of just fifty-four. Dabbs notes that she was laid to rest "in the habit of a Poor Clare, indicating that she may have been a lay member of the Franciscan order". Though dismissed as provincial by the noted Portuguese writer Miguel Torga - "Oh!

Josefa de óbidos wikipedia

Contemporary scholars, including Rachel Zimmerman and Joaquim Oliveira Caetano, assert that her "feminine condition", along with the "provincial" label attached to her oeuvre, was of critical interest in and of itself. But, says Caetano, "her painting goes far beyond being a curious case of 'gendered art' [and that] Josefa painted and lived her life with unusual independence, and truly created her own artistic language in Portuguese Baroque".

Content compiled and written by Alexandra Duncan.