Passing over a number of minor names, we may close the review of this period by a notice of Caterina de’ Pazzi. She was born in 1566, and retired early to a convent, where she assumed the name of Maria Maddalena. The energy with which she cultivated art, and the peculiar character of her works and those of others produced at this time, show the infusion of a new element of religious enthusiasm into art. Tradition preserves the story of this nun painting sacred pictures with her eyes closed. In the cloisters of the Carmelites at Parma, and in the church of Santa Maria in Cosmedin, at Rome, works of hers may be found. Dying in 1607, she was canonized by Clement IX. in 1669; and at this day a picture in one of the richest churches of Florence bears the name of the saintly artist, whose body reposes in a magnificent chapel under the same roof.
No other nation, during the sixteenth century, can compete with Italy in female artists. In France women enjoyed great influence in public affairs, and several ladies of the highest rank were distinguished for their literary productions and accomplishments. Isabella Quatrepomme is mentioned by Papillon as an excellent engraver on wood. She was born in Rouen, and flourished about 1521. A frontispiece in an old calendar, executed in neat style, representing a figure of Janus, is supposed to be by her, as it is marked with an apple on which there is a figure 4.
In Spain the flowers of art began to bloom at a later period; although in the liberal studies women were not behindhand. Isabella Losa, of Cordova, was appointed a doctor of theology, and there were ladies in Valencia, who, familiar with the works of Italian masters of art, made it their study to imitate them.
In the north the advance of Protestantism wrought a change in the condition of women, which had its influence on art. Domestic employments, and the domestic virtues, became more universally the delight and study of the fair sex. While the light of religious truth was penetrating their homes with its softened radiance, the growth of a deep moral feeling was preparing the way for farther triumphs in the imitative arts. England, where flourished many poetesses, had one female painter—Lewina Tirlinks—during the reign of Elizabeth. Germany boasted of Catherine Schwartz, the wife, probably, of that Christopher Schwartz whom his contemporaries called the German Raphael; while in Switzerland Eva von Iberg transferred to canvas the beauties of her country’s scenery.
In the Netherlands, on the other hand, the number of women painters at this period was large, and many were the diligent successors of Margaretta von Eyck in her native place. Her brothers, at the head of the old Flemish school, showed the combination of traditional types and ancient habits with the results of the struggles of the human mind for emancipation in this century. Antwerp seems to have been a rich soil for the production of female talent. Here, in 1521, Albrecht Durer became acquainted with the fair painter so honorably mentioned in his journal. “Master Gerard, illuminist,” he says, “has a daughter eighteen years of age, named Susannah, who illuminated a little book which I purchased for a few guilders. It is wonderful that a woman can do so much!” Among noted miniature painters we hear of Catherine Hämsen, who went into Spain, and entered the service of the Queen of Hungary on a good salary; also of Anna Seghers; Anna Smyters, and Margaret de Heere. Clara de Keyzer, or Clara Skeysers, of Ghent, died unmarried at the age of eighty. She enjoyed a celebrity that extended to Germany, France, Italy, and Spain, all which countries were visited by her.
Susannah Hurembout and Liewina Bennings, or Benic, should not be passed over. The latter, the daughter of “Maestro Simon,” was born in Bruges; was invited to London by Henry VIII., and was treated with great favor by both queens Mary and Elizabeth. King Henry gave her in marriage to an English nobleman. It has been thought she is the same person with Lewina Tirlinks. Susannah also received an invitation from “bluff King Harry” to visit his court, and lived in England, where she was treated with great distinction, for the remainder of her life. Both these women were miniature painters. Barbara Van den Broeck, the daughter of Crispin, was born in Antwerp, 1560, and engraved from her father’s designs. She handled the graver with consummate skill. In some pieces, she imitated successfully the style of Martin Rota.
In Holland, Magdalen de Passe was known as an engraver in copper, and Constantia von Utrecht as a flower-painter; one who first acquired distinction in this delicate and feminine branch of study, and directed to it the attention of her country-women. In later times the city where she lived and wrought became the capital of the world in this species of painting.
CHAPTER V.
THE SEVENTEENTH CENTURY.
New Ground presented for Progress.—Greater Diversity of Style.—Naturalism.—The Caracci instrumental in giving to Painting the Impetus of Reform.—Their Academy.—One opened by a Milanese Lady.—The learned Poetess and her hundredth Birthday.—Female Painters and Engravers.—Lavinia Fontana.—The hasty Judgment.—Lavinia a Pupil of Caracci.—Character of her Pictures.—Honors paid to her.—Courted by Royalty.—Her Beauty and Suitors.—A romantic Lover.—Lavinia’s Paintings.—Close of the Period of the Christian Ideal in Art.—Lavinia’s Chef-d’Œuvre.—Her Children.—Professional Honors.—Her Death.—Female Disciples of the Caracci School.—Pupils of Domenichino, Lanfranco, and Guido Reni.—The churlish Guercino a Despiser of Women.—The Cardinal’s Niece and Heiress.—Her great Paintings.—Founds a Cloister.—Artemisia Gentileschi, a Pupil of Guido.—Her Portraits.—Visit to England.—Favor with Charles I.—Luxurious Abode in Naples.—Her Correspondence.—Judgment of her Pictures.—Elisabetta Sirani.—Her artistic Character.—Her household Life.—Industry and Modesty.—Her Virtues and Graces.—Envious Artists.—Defeat of Calumny.—Her mysterious Fate.—Conjectures respecting it.—Funeral Obsequies.—Her principal Works.—Her Influence on female Artists.—Her Pupils.—Other Women Artists of Bologna.
In the seventeenth century the elements of disturbance had in part subsided, and new ground was presented for the progress of human intellect. A certain uniformity in art, which was the consequence of a close academical imitation of the old masters, gave place to a greater diversity of style, and, in some instances, to a vigorous and somewhat rude naturalism. The Naturalisti were so called on account of their predilection for the direct imitation of the common forms and aspects of nature. Passion was their inspiration, and their imitation was too often carried to excess, presenting what might be termed the poetry of the repulsive.