Women in Art

By mreppert
  • Period: 500 to 1500

    The Middle Ages

  • 1152

    Scivias

    Scivias
    Hildegard of Bingen was a Benedictine nun, and in 1136 she was elected abbess. She had a reputation as a prophetic voice within the church, and her contributions made up much of the scientific and religious intelligence of her time.
    The Scivias is a novel collection of Hildegard's theology. As a compilation of her own insights , the art was likely produced under her supervision. This image of Hildegard is a striking example of the distinct colors and lines that signify the Scivias' art.
  • 1171

    Hortus Deliciarum

    Hortus Deliciarum
    In 1167, Herrad of Landsberg was elected Abbess of Hohenberg. She is best known for her work compiling Hortus Deliciarum, an anthology of texts from numerous authors–including Herrad herself. Her work exemplifies Christianity’s early interest in the cosmological, ethical, and eschatological aspects of the world.
    The style of art reflects both Byzantine and Gothic influences. Miniatures from Hortus Deliciarum, demonstrate close attention to the characteristics and identities of the subjects.
  • Period: 1550 to

    The Renaissance

  • 1561

    Self Portrait

    Self Portrait
    As the first well-known female artist of the Renaissance, Sofonisba Anguissola opened the door for women to paint professionally. Her social status kept her from selling her work, but it was nevertheless highly circulated. In Self Portrait, she paints herself as modest woman of refinement and culture, demonstrating the social ideals of a Renaissance gentlewoman. The work exemplifies both Italian and Spanish styles through its dark background, posing, and focus on the subject’s face and hands.

  • Consecration to the Virgin

    Consecration to the Virgin
    Lavinia Fontana was one of a few female Renaissance artists to achieve international acclaim. While not of noble birth, her work places her and her family among the educated elite of Bologna. Her art emulates the tendencies of her teacher, Prospera Fontana, who combined Counter-Reformation pietism, Flemish attention to detail, and northern Italian naturalism. Consecration to the Virgin reflects the religious ideologies of her time, and a strong adherence to naturalist art principles.