L’educazione femminile inEtà Moderna

Storia dei processi formativiModulo 2

S. Leonardi, G. Zambelli,G. Toso,R. Puleo,P. Ruperto

 I.U.LINE

La musica….solo per le donne nobili   scelta da simonetta

Chardin, Jean-Baptiste Siméon 18th century National Gallery London

La Chiesa indica il ruolo che spetta alla donna all’interno dellafamiglia. Per la Chiesa protestante la madre non deve soloinsegnare ai figli i buoni costumi, ma può assumere anche il ruolo di padrona della casa in mancanza del padre, mentre per icattolici la sua funzione principale e quella di educatrice, intesacome figura che insegna e tramanda ai figli i valori morali espirituali, l'insegnamento religioso, le credenze popolari eun'istruzione elementare che permetta di leggere e scrivere.Quanto alle figlie è responsabile di quasi tutto il patrimonio diconoscenze che le farà spose sottomesse ed obbedienti.

Educazione in famiglia

Precettore o governante nelle famiglie benestanti

Fragonard, Jean-Honoré Museo del Louvre

• A Young Woman playing a Harpsichord• Full title: 'A Young Woman playing a

Harpsichord to a Young Man'• probably 1659• STEEN, Jan

1626 - 1679 • NG856. Bought with the Peel collection, 1871.• Signed and dated above the keyboard:

IOHANIS STeeN FECIT 16(5?)(9?)• In contrast to Steen's characteristic scenes of

dissolute households and festive abandon, this painting shows an interior within a stone arch in the manner of Dou and the Leiden 'fijnschilders' (Fine Painters). A girl playing the virginals, or as here, a harpsichord, was one of the most popular subjects with Dutch 17th-century painters, and as in Metsu's roughly contemporary painting, 'A Man and a Woman seated by a Virginal' in the National Gallery, the instrument is inscribed with popular quotations from the Bible. The inscription reads: ACTA VIRUM / PROBANT (actions prove the man), which may be a witty and ironic comment on this scene of rather passive flirtation. On the inner side of the instrument one can read: 'Soli Deo Gloria' (Glory to God alone). The picture was probably painted in 1659.

A Woman playing a VirginalFull title: 'A Woman playing a Virginal, Another singing and a Man playing a Violin'probably 1675-80OCHTERVELT, Jacob1634 - 1682 NG3864. Bought, 1924.Signed over the door: Jac : Ocht(. .)velt : f. Inscribed on underside of virginal's lid: S? D?E?. The map on the wall above the virginal is based on one of North and South America called 'Americae nova descriptio' which was published by Dancker Danckerts in Amsterdam in 1661. The dress and coiffure of the woman who stands before it are identical to those in 'A Woman by a Harpsichord' by Ochtervelt (also in the National Gallery's Collection).

• A Young Man and Woman making Music• Full title: 'A Young Man playing a Theorbo and a Young Woman playing a Cittern'• probably 1630-2• MOLENAER, Jan

about 1610 - 1668 • NG1293. Bought, 1889.• Signed on the foot-warmer: (I?) MR [in monogram].• The duet played by the couple may well refer to the harmony of true love, while the foot-warmer is

usually interpreted as a symbol for the effort a man has to make in order to gain a woman's love.The portrait in the right background is in the style of Michiel van Miereveld (1567 - 1641), and is probably of Prince Frederik Henrik of Orange (1584 - 1647), who became Stadholder of the Dutch Republic in 1625.On loan to the Laing Art Gallery, Newcastle from April to July 2008

Le tre Parche di Francesco del Cossa, parte dello affresco nella Sala dei Mesi di Palazzo Schifanoia, Ferrara.

AACK, Johannes vanDer 1635/6 - after 1680 NG1397. Presented byHenry J. Pfungst, 1894.Signed and dated in thelower margin of the engraving: Joannes-AbAack fecit/ 1655; inscribed on the ovalborder of the engravedportrait: vin (cere) au(t)mori. The engraved portraiton the wall shows Christian, Duke ofBrunswick (1599 - 1626), a Protestant general in the early part of the Thirty Years' War. It is by Willem Jacobsz. Delff after a portrait by Michiel van Miereveld.Oil on canvas 108.8 x 82 cm.

An Old Woman seated sewing1655

nobildonne

Portrait of a Woman 1618MIEREVELD, Michiel van

1567 - 1641 NG2292. Bequeathed byGeorge Fielder, 1908.Signed and dated above the left shoulder: F[?] 1618 /M Mierevelt

The female sitter in this portrait has not been identified. There is a fragment of paper on the back with

theremains of an inscription: Cad(..) rello / ...rta (.) (p?) rello.Miereveld was an immensely successful portrait painter in Delft andpainted many members of theStadholder's court at The Hague.

Donna e riforma protestantePortrait of a Woman of the

HoferFamily about 1470SWABIAN NG722. Presented by Queen Victoria at the Prince Consort's wish, 1863.Inscribed at the top: geborne hoferin [née Hofer].The sitter's family is identified bythe inscription (born a Hofer), although her precise identity is unknown. She holds a forget-me-not, presumably for remembrance. Onher headdress is a fly, either a symbol of mortality or a reminder of the artist's skills of illusion. The artist worked in Southern Germany; the portrait probably dates from about 1470.

Portrait of a Woman with a Black Cap 1657BRAIJ, Jan deabout 1626/7 - 1697 NG1423. Presented by Alfred Fowell Buxton, 1894.Signed below the inscription: Braij; inscribed in Dutch on the left: 1657/Ouwt 52 jaar [1657/52 years old]. The 52-year-old sitter has not been identified. Her black peaked cap, enlivened only by the small pearl drops attached to the edges, identifies her as awidow.De Braij worked in Haarlem and Amsterdam, and was the son of the painter,architect and poet Salomon de Braij. Most of his works are portraits, but he also made etchings and was active as an architect. The panel may have been cut on the left, and the initials preceding the surname of the signature consequently lost. X-ray photographs show that the head was originally further to the left and that the collar was lower.On loan to the Frans Hals Museum, Haarlem from February to June 2008, followed by Dulwich Picture Gallery from July to October 2008.

• PIETER DE HOOGH - La dispensa

• A Woman scraping Parsnips• Full title: 'A Woman scraping Parsnips, with a Child standing by her'1655MAES, Nicolaes

1634 - 1693 NG159. Bequeathed by Lord Farnborough, 1838.Signed and dated bottom right: N MAES 1655 [MAE in monogram]During the years 1654-59 Maes painted small-scale genre paintings showing simple domestic scenes. These employ a restricted palette dominated by browns and reds and a rich 'chiaroscuro' (Italian for light-dark, meaning the balance of light and shadow), reflecting the training Maes had with Rembrandt in Amsterdam in the years around 1650. After 1660 Maes devoted himself exclusively to portraiture.Oil on oak35.6 x 29.8 c

• A Woman and a Fish-pedlar in a Kitchen

• 1713• MIERIS, Willem van

1662 - 1747 • NG841. Bought with the

Peel collection, 1871.• Signed and dated top left:

W.van Mieris. Fc Anno 1713

• On the sill are two ducks, a basket of snipe, and fish; hanging on the right, a pheasant and two rabbits. The bas-relief is a variant of a 'Triumph of Galatea' relief which appears in several of van Mieris' paintings (e.g. 'Joseph and Potiphar's Wife', Karlsruhe, Staatliche Kunsthalle).

• A Man and a Woman by a Fire• Full title: 'An Interior, with a Man and a Woman seated by a Fire'• 1653• BREKELENKAM, Quiringh van

Died: 1668• NG1329. Bought, 1891.• Signed and dated, right background: Q.VB.1653 [VB in monogram].• In the background is a map of the Netherlands, bearing the lion of Holland. As is often the case

in 17th-century maps, north is not at the top but on the right.The map is inscribed in the right background: 'H(?)AR(E?) GE(R?)WANIC UM / DE NO (O?)RT ZEE'. This is a faulty transcription of 'Mare Germanicum', Latin for the North Sea.

• A Woman scouring a Pot• about 1650-60• BOSCH, Pieter van den, attributed to

about 1613/15 - after 1663 • NG2551. Salting Bequest, 1910.• A woman in an interior, perhaps a kitchen, scours a pot on top of a barrel.

The attribution to van den Bosch is based on comparison with a signed picture of the same subject in Berlin (Staatliche Museen, Gemäldegalerie). The picture has also been attributed to Pieter Slingeland. It shows the influence of Gerrit Dou and can be dated on grounds of style to the 1650s.

• Oil on oak

• An Old Woman peeling Pears• TENIERS the Younger, David, follower of • NG805. Bought from G.H. Phillips, 1870.• To the right of the woman is a greyhound, and to the left objects that include

earthenware and brass pots and cauliflowers. The furniture in the background recurs in Teniers's 'An Old Peasant caresses a Kitchen Maid in a Stable'.An Old Woman peeling Pears' was probably inspired by Teniers's style of the 1640s. It is reminiscent of a work by the artist's brother, Juliaen Teniers the Younger, in Copenhagen.

• An Old Woman scouring a Pot• 1660s• SCHALCKEN, Godfried

1643 - 1706 • NG997. Wynn Ellis Bequest, 1876.• Signed bottom right: G . Schalcken .• The old woman, the broken pot, the butterfly and the empty candle-holder are all

elements which, taken together, identify the painting as a 'vanitas', an allegory of the transience of life. This is an early work in the style of Schalcken's teacher, Gerrit Dou. It is reminiscent of Dou's 'niche paintings' - an interior seen through an aperture

Cortigiane• A Blonde Woman• about 1520• PALMA Vecchio

Died: 1528• NG3939. Mond Bequest, 1924.• The woman seems to unveil her

charms and as she does so offers us flowers - this is perhaps a poetic allusion to the goddess Flora (although Flora was also a common name for courtesans). The painting is an early and notable example of a type of painting also produced by Titian (active about 1506; died 1576).

• Oil on wood

• Woman at a Window• probably 1510-30• ITALIAN, NORTH • NG2146. Purchased, 1855.• The provocative character of her dress and her sly look out of the window suggest that the

subject is a prostitute, but not necessarily the portrait of a specific individual. The painting is likely to date from the second or third decade of the 16th century. In the past this painting has been attributed to Pordenone. The costume is comparable to that in other Italian works of about 1515.

• Oil on wood

• A Young Woman with Carnations• probably about 1590-1600• ITALIAN, VENETIAN • NG2097. Bequeathed by the Misses Cohen as part of the John Samuel collection, 1906.• This unidentified woman is seen with one breast exposed, and with carnations tucked into her chemise. This picture

appears to have been painted in the late 16th century.• Oil on canvas

97.8 x 74.3 cm.

• Two Lovers at Table• 1644• SORGH, Hendrick

1610 or 1611 - 1670 • NG1056. Bequeathed by John Henderson, 1879.• Signed and dated, top right: H. Sorgh 1644• Sorgh worked in Rotterdam and specialised in peasant scenes. This is one of a pair

of paintings - the other is 'A Woman playing Cards with Two Peasants' (also in the National Gallery Collection) - which illustrate ways in which women can make fools of men. Here, the procuress behind the door on the left will make the man pay dearly for the young woman's favours.

• A Woman holding a Mirror• 1625• CODDE, Pieter

1599 - 1678 • NG2584. Salting Bequest, 1910.• Signed and dated on the frame of the landscape: PCodde. Anno 1625 [PC in

monogram].• The woman's features are not sufficiently individualised for this to be a portrait, nor is

it likely to be an allegory of Pride ('Superbia'), since the woman does not admire her features in the mirror. Instead, it may be a 'vanitas' (a picture symbolising the vanities and transience of human life), or simply a scene from everyday life. This seems to be Codde's earliest dated work.

Marianna de Leyva, figlia di un ricco condottiero spagnolo dopo i voti Suor Virginia Maria, costretta a farsi suora per non spartire il patrimonio familiare. A lei si ispirò Manzoni con la Monaca di Monza

• Female Members of a Confraternity• about 1500• ITALIAN, MILANESE • NG780. Bought, 1867.• This painting shows the heads or busts of fourteen kneeling women, and part of a

patron saint.It was probably painted as part of a confraternity banner or standard once in the Charterhouse of Pavia, which presumably belonged to the unknown confraternity. Another painting probably from the same banner depicts 'Male Members of a Confraternity'.

Portrait of Giovanni Arnolfini and his Wife (1434)By Van Eyck, National Gallery, London

• Portrait of a Woman and Child• about 1620-1• VAN DYCK, Anthony

1599 - 1641 • NG3011. Bought, 1914.• Some of Van Dyck's most intimate

and least formal portraits, such as this one, are those he painted of the predominantly bourgeois citizens of Antwerp and their families before his departure to Italy in 1621.This unknown woman and child may originally have been paired with a portrait of the woman's husband, towards whom the child would have been gesturing. The lively pose of the child is contrasted with the stillness of the mother, and complemented by the striking colour of the dress.

• A Woman and Five Children• 1642• NG1425. Presented by Lesser Lesser, 1894.• Signed and dated: Lenain, f[e]cit 1642• This work has been known by various titles in the past, including 'A

Family Group' and 'The Tasting'. It is one of a number of domestic genre scenes by the Le Nain brothers set before a neutral backdrop

Qualche eccezione• Rosalba Carriera• 18th century• CARRIERA, Rosalba Giovanna,

after • NG3127. Layard Bequest, 1916.• Rosalba Carriera was one of few

women to make a successful career as an artist in the 18th century. She began her career painting portrait miniatures on ivory to adorn the inside of snuff-box lids, and by the time she was in her twenties was attracting an international clientele for her portrait miniatures and pastel portraits. This picture is based on a pastel self-portrait that she made in old age, now in the Royal Collection at Windsor.

• Oil on canvas57.6 x 39.4 cm.

• Self Portrait in a Straw Hat

• after 1782• VIGÉE LE BRUN,

Elizabeth Louise1755 - 1842

• NG1653. Bought, 1897.• The painting appears,

after cleaning, to be an autograph replica of a picture, the original of which was painted in Brussels in 1782 in free imitation of Rubens's 'Chapeau de Paille', which Vigée Le Brun had seen in Antwerp. It was exhibited in Paris in 1782 at the Salon de la Correspondance. Vigée Le Brun's original is recorded in a private collection in France.

• A Lady with a Rosary• about 1550• HEMESSEN, Catharina van, attributed to

1527/8 - after 1566?

Comportamento• A Boy and a Girl with a Cat and an Eel• about 1635• LEYSTER, Judith

1609 - 1660 • NG5417. Bequeathed by C.F. Leach, 1943.• Signed, right: iudiyh [sic], followed by a star.• It has recently been suggested that this

painting serves as a warning against foolish and mischievous behaviour. The boy has used the small eel to entice the cat into his grasp and then withholds the bait, while the girl teases the cat further by pulling its tail. Judging by its extended claws the cat is about to scratch the boy. The picture thus seems to allude to the Dutch saying: 'He who plays with cats gets scratched', meaning he who looks for trouble will get it. It was common in Dutch 17th-century painting to use children in order to point out the foolish behaviour of adults.

Judith Leyster, a painter of genre scenes, portraits and still lifes, was mainly active in Haarlem and Amsterdam. In 1636 she married the painter Jan Molenaer, whose works are also represented in the Collection.

• An Itinerant Musician• Full title: 'An Itinerant Musician saluting Two

Women in a Kitchen'• probably about 1770• STEEN, Jan, after • NG1378. Bequeathed by Sir William H.

Gregory, 1892.• Inscribed on the fireplace, right: JSt 1670 [JS

in monogram].• The old man saluting the women in the kitchen

has a flute in his breeches pocket, which suggests that he is an itinerant musician.

This monochrome picture ('grisaille'), painted on paper, is a copy of a painting by Jan Steen in an English private collection. It was probably made by (or for) Samuel de Wilde (1748 - 1832) in preparation for his print after Steen's original. The signature cannot be considered genuine.

Donna e libro• A Woman Asleep by a Fire• about 1648• BREKELENKAM, Quiringh van

Died: 1668• NG2550. Salting Bequest, 1910.• The stoneware jug on the table has a

relief, which appears to show Adam and Eve before God the Father. The subject of an old woman sleeping in a chair or gazing into a fire was popular with Brekelenkam and his contemporaries in Leiden, and this painting is one of several on this theme by the artist.

In the second half of the 18th century, this painting belonged to Jean-Etienne Liotard, whose work is also represented in the Collection.

An Old Woman with a Book about 1660METU, Gabriel 1629 - 1667 NG2590. Salting Bequest, 1910.Signed below centre: G. Metsu; theInscription on the paper hanging over theledge is so damaged as to be illegible, although the initial D beneath the inscription can be made out.This type of subject is derived from Gerrit Dou's so-called 'niche' paintings, with aninterior seen through an aperture (for example, 'A Poulterer's Shop', also in theNational Gallery's Collection). This painting has been dated to about1660 on the basis of a comparison with the 'Hunter in a Niche' of 1661 (The Hague, Mauritshuis). It has been suggested that this picture was painted asa pair to 'The Apothecary' (Paris, Louvre).Both were in the Braamcamp collection, but the dimensions and a description of1766 make it clear that the pictures were not pendants.

An Old Woman Reading17th centuryTENIERS the Younger,

David, imitator of NG2601. Salting Bequest,

1910.Inscribed: DTá [in

monogram].David Teniers the Younger

was immensely successful as a painter and his work was widely copied and imitated. This appears to be an imitation painted at the end of the 17th century.

Adulterio The Woman taken in Adultery1644Rembrandt1606 - 1669 NG45. Bought, 1824.Signed and dated, bottom right:Rembrandt f 1644Rembrandt portrays a Bible storyabout the nature of God's forgiveness for those who sin.The subject comes from the Gospel of Saint John.The Scribes and Pharisees, knowing that Jesus took pity on wrong-doers, tried to catch him condoning disobedience to the Law. They brought a woman to him who had been caught in theact of adultery and said, 'Teacher, this woman has beencaught in the act of adultery. Nowin the law Moses commanded usto stone such. What do you say about her?' Christ replied, 'He that is without sin among you, lethim first cast a stone at her' (John8: 3-7). In Rembrandt's interpretation, Christ's stature is exaggerated tomake him seem taller (and by analogy morally superior) thanthose trying to trick him.

Ricerca effettuata prevalentemente sul sito della Galleria Nazionale di Londra. Digitando “woman” sul motore di ricerca del sito vengono mostrate 312 opere raffiguranti donne di varie epoche,nella maggior parte ‘600- 700. Dalla visione di queste opere emergono sempre le stesse categorie di donne raffigurate: • Ritratti di nobildonne• Ritratti di nobildonne con strumento musicale• Con figli• Donne di servizio al lavoro in cucina• Cortigiane• Pochissime donne che leggono

 

Madame de Pompadour was the long-standing mistress of KingLouis XV of France. In this portrait, the last ever painted of her, she is presened as a respectable, cultured, middle-aged woman, who gazes confidently at the viewer.But who was the real Pompadour, and how didshe become one of the most powerful women in 18th-century France? He painting shows the one-time mistress of Louis XV in the last year of her life. Born Jeanne-Antoinette Poisson in 1721, she married in 1741 and became royal mistress and Marquise de Pompadour four years later. She was a patron of the arts and letters and a leader of fashion who exercised considerable influence on the public policy of France.The canvas is signed and dated on the work-table as begun in April 1763. The head, painted on a rectangle of canvas inserted into the painting, was presumably taken from life, and the rest of the picturecompleted in May 1764, the month after the death of Madame de