000			02146cam a2200325 i 4500
001			zmeld4 b9986963
008			190709t20192019njua bc 001 0 eng c
010			_a 2019029181
020			_a0691198322 _q(Cloth)
020			_a9780691198323 _q(Cloth)
035			_a(coutts)cts23642771
035			_a(OCoLC)1108816930 _z(OCoLC)1099688276
040			_aPUL _beng _erda _cPUL _dOCLCO _dCDX _dCaONFJC _dMiTN
042			_apcc
043			_ae-it---
050		4	_aND623 .A5395 _bC65 2019
100	1		_aCole, Michael Wayne, _d1969-
245	1	0	_aSofonisba's lesson : _ba Renaissance artist and her work / _cMichael W. Cole.
264		1	_aPrinceton : _bPrinceton University Press, _c[2019]
264		4	_c©2019.
300			_a307 pages : _bcolor illustrations ; _c25 cm.
336			_atext _btxt _2rdacontent.
337			_aunmediated _bn _2rdamedia.
338			_avolume _bnc _2rdacarrier.
504			_aIncludes bibliographical references (pages 274-300) and index.
520			_a"Within a span of seven or eight years in the 1550s, the Italian painter Sofonisba Anguissola produced more self-portraits than any known painter before her had in a lifetime. She was the first known artist in history to take her parents and siblings as primary subject matter, and may have painted the first group portrait featuring only women. Cole examines Sofonisba's paintings as expressions of her relationships and networks, looking at why Sofonisba was able to become a great woman artist: at her father, who decided to allow her to be educated as a painter; at her teacher, Bernardino Campi; and at her relationships with her students, sisters, and patrons, who included the Queen of Spain. Cole demonstrates that Sofonisba made teaching and education a central theme of her painting. The book also provides the first complete catalogue of all of Sofonisba's known works"-- _cProvided by publisher.
600	1	0	_aAnguissola, Sofonisba, _dapproximately 1532 or 1533-1625 _xCatalogues raisonnés.
600	1	0	_aAnguissola, Sofonisba, _dapproximately 1532 or 1533-1625 _xCriticism and interpretation.
650		0	_aWomen painters _xSocial networks _zItaly.
999			_c523981 _d523981