La Fornarina

Raffaello Sanzio da Urbino known as Raphael, 1483–1520
Portrait of a Woman – La Fornarina, about 1519–20, Oil on Panel, 85×60 cm, Galleria Nazionale di Arte Antica (GNAA), Palazzo Barberini, Rome, Italy
https://el.wikipedia.org/wiki/%CE%91%CF%81%CF%87%CE%B5%CE%AF%CE%BF:La_Fornarina,_por_Rafael.jpg

The life of Raffaello Sanzio da Urbino was short, his work prolific, and his legacy immortal. This is how the National Gallery in London experts introduce their audience to the blockbuster Credit Suisse Exhibition on Raphael (9 April – 31 July 2022)… But I want to return to Giogio Vasari… The liberality with which Heaven now and again unites in one person the inexhaustible riches of its treasures and all those graces and rare gifts which are usually shared among many over a long period is seen in Raphael Sanzio of Urbino, who was as excellent as gracious and endowed with a natural modesty and goodness sometimes seen in those who possess to an unusual degree a humane and gentle nature adorned with affability and good-fellowship, and he always showed himself sweet and pleasant with persons of every degree and in all circumstances… and take another look at La Fornarinahttp://www.artist-biography.info/artist/raphael/ and https://www.nationalgallery.org.uk/exhibitions/the-credit-suisse-exhibition-raphael#content

Ever since I saw La Fornarina at Palazzo Barberini in Rome, I was intrigued by its captivating beauty and mysteries. Who is the beautiful woman who modestly tries to cover herself?

Raffaello Sanzio da Urbino known as Raphael, 1483–1520
Portrait of a Woman – La Fornarina (detail of the face), about 1519–20, Oil on Panel, 85×60 cm,  Galleria Nazionale di Arte Antica (GNAA), Palazzo Barberini, Rome, Italy
Foto di Mauro Cohen https://www.nationalgallery.org.uk/exhibitions/the-credit-suisse-exhibition-raphael/a-brief-introduction-to-raphaels-life-and-times

Giorgio Vasari describes Raphael as a very amorous man,  fond of women, …always swift to serve them. This description “helps” Raphael enthusiasts identify the woman portrayed in La Fornarina with Margherita Luti, Raphael’s Roman lover, the daughter of a baker in Trastevere. Unfortunately, there is no description or record of such a painting created by the artist at the time. There are, however, “hints” that supporters of this interpretation like to consider. For example, her right-hand rests, gently, over her heart, holding her exposed breast. More so, her left hand, the hand of the heart, is adorned with a luxurious armband bearing the inscription “Raphael Urbinas,” the painter’s signature and her fourth finger is adorned with a ruby wedding ring, hidden under flesh-coloured paint for almost five centuries, and revealed in 2001 when an x-ray analysis was carried out on the painting. According to primary sources, Raphael died a young, unmarried man of 37, engaged at the time to a woman named Maria Bibbiena, the daughter of his patron Bernardo Dovizi. Could La Fornarina truly be the portrait of Margherita? There are “hints” but no evidence… https://www.barberinicorsini.org/en/opera/la-fornarina/ and http://www.artist-biography.info/artist/raphael/ and https://www.walksofitaly.com/blog/art-culture/art-history-mystery-la-fornarina-raphael

Raffaello Sanzio da Urbino known as Raphael, 1483–1520
Portrait of a Woman – La Fornarina (detail), about 1519–20, Oil on Panel, 85×60 cm,  Galleria Nazionale di Arte, Palazzo Barberini, Rome, Italy
https://commons.wikimedia.org/wiki/File:Fornarina_03.jpg

Then come the Palazzo Barberini experts who have a different “reading” on the identity of the elusive young woman… They suggest that Raphael’s female Portrait in their Collection presents no other than Goddess Venus. The position of her hand, for example, one placed on her lap and the other on her breast, follows the classic statuary model of the “Venus Pudica”: a gesture of modesty that yet directs the viewer’s gaze to what she actually seeks to conceal. Other symbols are to be found in the painting’s background… the myrtle bush, laurel, and branches of quince are sacred emblems of Venus, marriage, lust, and fertility. Plausible but not decisive… https://www.barberinicorsini.org/en/opera/la-fornarina/

Raffaello Sanzio da Urbino known as Raphael, 1483–1520
Portrait of a Woman – La Fornarina (detail), about 1519–20, Oil on Panel, 85×60 cm,  Galleria Nazionale di Arte, Palazzo Barberini, Rome, Italy
https://claudiaviggiani.com/fornarina-di-raffaello-in-palazzo-barberini/

Finally, I enjoyed reading Rona Goffen’s article on Raphael’s Designer Labels: From the Virgin Mary to La Fornarina (Artibus et Historiae Vol. 24, No. 48, 2003). pp. 132-135). Raphael, the author believes, tantalized, and still tantalizes his audience with clues to the woman’s identity but withholds her name. Whatever La Fornarina’s real name might have been, the author concludes, whatever (personal amorous) considerations might have motivated Raphael, he painted her portrait as the embodiment of the beauty of his art, that is, not universal, but idiosyncratic, individual, unmistakable for any other. Redefining beauty according to his own criteria, asserting his possession of her, whose image he created, Raphael asserted possession of art itself. And so Raphael signed the Fornarina without a date, because his possession is forever, his achievement immortal. This is an article worth reading! https://www.jstor.org/stable/1483734?read-now=1&refreqid=excelsior%3A2d02ae94d96f8d5167a5b6a3fb35f281&seq=13#page_scan_tab_contents pp. 132-135

For a PowerPoint on Raphael’s Portraits of Women, please… Check HERE!

Spring by Giuseppe Arcimboldo

Giuseppe Arcimboldo, 1527-1593
The Four Seasons – Spring, 1563, oil on canvas, 76×63.5 cm, Real Academia de Bellas Artes de San Fernando, Madrid, Spain
https://commons.wikimedia.org/wiki/File:Giuseppe_Arcimboldo_-_La_Primavera_-_Google_Art_Project.jpg

Festive Spring has arrived, / The birds salute it with their happy song. / And the brooks, caressed by little Zephyrs, / Flow with a sweet murmur. / The sky is covered with a black mantle, / And thunder, and lightning, announce a storm. / When they are silent, the birds / Return to sing their lovely song     /     And in the meadow, rich with flowers, / To the sweet murmur of leaves and plants, / The goatherd sleeps, with his faithful dog at his side.     /     To the festive sound of pastoral bagpipes, / Dance nymphs and shepherds, / At Spring’s brilliant appearance. This is Antonio Lucio Vivaldi’s (1678 – 1741) Sonnet A Primavera (Spring). The great composer wrote it as a descriptive accompaniment, experts believe, for the music of his “Four Seasons.” Today the first day of Spring, I took the time to listen and read Vivaldi’s music and sonnet, looking at Spring by Giuseppe Arcimboldo! It was a magical time! https://www.charlottesymphony.org/blog/vivaldis-four-seasons-poems/

A scion of a noble and artistic family, his father was an artist, and his uncle held the position of Archbishop of Milan, Giuseppe Arcimboldo (1526–1593) was in all probability introduced to artists, scholars, and writers from a young age. Born and raised in Milan, the cradle of Renaissance naturalism, young Arcimboldo learned a mode of artistic expression based on the direct observation of nature. Well-trained as an artist Arcimboldo was commissioned to do exceptional work since the age of 21. For example, in 1549 he was commissioned to design stained glass windows for the Duomo, in 1551 he painted coats of arms for the future Emperor, Ferdinand I, in 1556, he created frescoes for the Cathedral of Monza; and, in 1558, he drew the cartoon for the Dormition of the Virgin tapestry, which remains on display in the Como Cathedral in Lombardi to this day. https://www.theartstory.org/artist/arcimboldo-giuseppe/life-and-legacy/#biography_header and file:///C:/Users/aspil/OneDrive/Blog/Renaissance%20Mannerism/Arcimboldo%20ScoopNGA.pdf

Arcimboldo’s friend, the Milanese art critic, and travelogue author, Paolo Morigia writes for him… This is a painter (Arcimboldo) with a rare talent […] having proved his worth both as an artist and as a bizarre painter, not only in his own country but also abroad, he has been given the highest praise, in that word of his fame has reached the Emperor’s court in Germany.” The “court” Morigia refers to, is the court of the Habsburg rulers in Vienna first, where Arcimboldo moved in 1563 at the age of thirty-six, and Prague later, where he served as court painter for twenty-five years. https://www.theartstory.org/artist/arcimboldo-giuseppe/life-and-legacy/#biography_header and file:///C:/Users/aspil/OneDrive/Blog/Renaissance%20Mannerism/Arcimboldo%20ScoopNGA.pdf

Giuseppe Arcimboldo, 1527-1593
The Four Seasons – Spring (detail), 1563, oil on canvas, 76×63.5 cm, Real Academia de Bellas Artes de San Fernando, Madrid, Spain
https://www.researchgate.net/figure/Figura-16-Giuseppe-Arcimboldo-La-Primavera-1563-Real-Academia-de-Bellas-Artes-de-San_fig16_318795156

While in Vienna, to celebrate the reign of Emperor Maximilian II, Arcimboldo created his “ signature Portraits of the 4 Seasons,” composed of imaginatively arranging elements of nature like plants, flowers, fruits, and vegetables. For each “Portrait” (Spring, Summer, Autumn, and Winter), created in 1563, Arcimboldo combined plants associated with a particular season to form a portrait of that time of year. The series proved extremely popular in the Habsburg court, and Arcimboldo reproduced it several times so the emperor could send versions to friends and important political figures. file:///C:/Users/aspil/OneDrive/Blog/Renaissance%20Mannerism/Arcimboldo%20ScoopNGA.pdf

Closely associated with Mother Earth, Arcimboldo’s “Spring”, the first in his Four Seasons series, takes the form of a youthful woman composed entirely of flowers and bright green leaves. Arcimboldo uses roses and daises, tulips and lily buds, green leaves like strawberry stems, and large leaves of a dandelion plant. In profile, and smiling, showing her lilies of the valley teeth, “Spring” seems fully aware of her beauty and the joy that looking upon her countenance will bring to a viewer. Her youth and beauty are a fitting opening to the series, and the beginnings of the cycle of life and the seasons. http://omeka.wustl.edu/omeka/exhibits/show/arcimboldo-s-gift–the-fantast/fourseasons/spring

For a PowerPoint of the 4 Seasons by Giuseppe Arcimboldo, please… Check HERE!

A monumental installation in the grounds of the Dulwich Picture Gallery in South London of The Four Seasons, a set of four fifteen-foot fiberglass sculptures by American artist and film-maker Philip Haas in 2012
https://poulwebb.blogspot.com/2012/06/giuseppe-arcimboldo.html

I would like to draw your attention to a modern take of Arcimboldo’s The 4 Seasons paintings… a set of four and a half meters high fiberglass sculptures of the Four Seasons by American artist and film-maker Philip Haas, created in 2012. Interesting… to say the least! https://crystalbridges.org/blog/the-four-seasons-philip-haas-interprets-giuseppe-arcimboldo/

A monumental installation in the grounds of the Dulwich Picture Gallery in South London of The Four Seasons (photo of The Spring), a set of four fifteen-foot fiberglass sculptures by American artist and film-maker Philip Haas in 2012
https://poulwebb.blogspot.com/2012/06/giuseppe-arcimboldo.html