MARIETTA TINTORETTO.
Marietta Robusti, the daughter and pupil of the great painter Tintoretto—him who was called “the thunder of art,” and excelled in the powerful and terrible—was born in 1560. She had a lively disposition and great enthusiasm; she was very beautiful in person, had a fine voice, and was an accomplished performer on the lute and other instruments. It is no wonder that she was the object of her father’s pride and affections. She accompanied him every where, dressed as a boy; and he developed her genius for art less by precept than by the living example of his own labor. His pictures nourished and fertilized her imagination, and, step by step, she followed him faithfully. Whether he labored at his models or studied the antique statues, or casts from Michael Angelo, the coloring of Titian or the nude figure, she was by his side. She noted his first sketch in the feverish moment of creation, and watched the progress of its execution. His marvelous freedom in handling the brush, his strength and precision in drawing and richness of coloring became hers. She learned his secret of giving proportion and unity to many figures, and the difficult art of foreshortening; then, after copying his pictures, she could say, “I, too, am an artist.” She chose the kind of painting suited to her sex. Historical pieces demanded too much study and application, and it was wearying to design nude figures in imitation of the antique. Portrait painting was easier, and promised more immediate results.
Her first portrait was that of Marco dei Vescovi. It was greatly admired, particularly the beard, and some ventured to say she had equaled her father. Ere long she became famous, and it was all the rage among the Venetian aristocracy to be painted by Marietta. Her father was in raptures at her astonishing progress and success.
Jacopo Strada, antiquarian to the Emperor Maximilian, had his portrait taken by her, and gave it as a curiosity to his imperial master. This, and one she painted of herself, gained her a great reputation. The emperor placed them in his chamber, and invited her to be the artist of his court. The same proposition was made to her by Philip II. of Spain and the Archduke Ferdinand. She was a dutiful daughter and obeyed the wishes of Tintoretto, who refused to part with her, even that she might grace a court. To secure her against the acceptance of such alluring offers, he bestowed her hand on Mario Augusti, a wealthy German jeweler, on the condition that she should remain under the paternal roof. She completed several original designs and painted many portraits. Her exquisite taste, her soft and gentle touch, and her skill in coloring were remarkable, both in works of her own invention and those due to her father’s genius.
Tintoretto was not destined long to rejoice in the progress of his lovely daughter. In the flower of her age, in 1590, she departed this life, leaving her husband and father mourners for the rest of their days. She was buried in the church of Santa Maria dell’ Orto. Another artist made a picture of Tintoretto transferring to the canvas the features of his child, still beautiful in death. Several of her works are in Venice. One, at the Palais Royale, represents a man in black, sitting, his hand on an open book lying on a table, where is also an escritoir with papers, a watch, and crucifix.
Decampes has published an engraving of Marietta’s portrait. The expression is very soft and meek; a braid of hair encircles the top of her head, and a rouleau is put back from the forehead. A handkerchief is crossed on the bosom, and around her neck is a string of large beads.
Some fair artists of the schools of northern Italy deserve mention. Vasari speaks of Barbara, daughter of the painter Lucas Longhi, of Ravenna, as possessing great talent. In Genoa, Tommasa Fiesca was known as a painter and engraver, as well as a writer of mystical tracts. She and her sister Helen were Dominican nuns, and died in 1534.
CHAPTER IV.
THE SIXTEENTH CENTURY.
The six wonderful Sisters.—Sofonisba Anguisciola.—Her early Sketches.—Painting of three Sisters.—Her Success in Milan.—Invitation to the Court of Madrid.—Pomp of her Journey and Reception.—The Diamond.—Paints the Royal Family and the Flower of the Nobility.—Her Present to Pope Pius.—His Letter.—Her Style.—Lucia’s Picture.—Sofonisba Governess to the Infanta. Marriage to the Lord of Sicily.—His Death at Palermo.—The Widow’s Voyage.—The gallant Captain.—Second Love and Marriage.—Her Residence at Genoa.—Royal Visitors.—Loss of Sight.—Vandyck her Guest.—Her Influence on Art in Genoa.—Her Portrait and Works.—Sofonisba Gentilesca.—Her Miniatures of the Spanish Royal Family.—Caterina Cantoni.—Ludovica Pellegrini.—Angela Criscuolo.—Cecilia Brusasorci.—Caterina dei Pazzi.—Her Style shows the Infusion of a new Element of religious Enthusiasm into Art.—Tradition of her painting with eyes closed.—Her Canonization.—Women in France at this period.—Isabella Quatrepomme.—Women in Spain.—A female Doctor of Theology.—Change wrought by Protestantism in the Condition of Woman.—Its Influence on Art.—An English Paintress.—Lavinia Benic.—Catherine Schwartz in Germany.—Eva von Iberg in Switzerland.—Women Painters in the Netherlands.—Female Talent in Antwerp.—Albert Durer’s Mention of Susannah Gerard.—Catherine Hämsen.—Anna Seghers.—Clara de Keyzer.—Liewina Bennings’ and Susannah Hurembout’s Visits to England.—The Engraver Barbara.—The Dutch Engraver.—Constantia, the Flower Painter.
We come now to the six wonderful sisters Anguisciola: Helena, Sofonisba, Minerva, Europa, Lucia, and Anna Maria, all gifted in music and painting. Vasari describes his visit “to the house of Amilcare Anguisciola, the happy father of an honorable and distinguished family; the very home of painting, as well as of all other accomplishments.” In Ariosto’s Orlando Furioso, we read: