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[[Portrait of the Gozzadini Family]]
Portrait of the Gozzadini Family is a 1584 oil on canvas painting by Bolognese artist Lavinia Fontana. It currently hangs in the Pinacoteca Nazionale in Bologna.[1]
This Mannerist painting depicts Laudomia Gozzadini (who commissioned the painting) and her sister Ginevra in the foreground, their father Senator Ulisse Gozzadini seated with them, and their husbands Camillo and Annibale standing behind. Ginevra and Ulisse, who are linked by his hand on her arm, were deceased at the time of the painting. Between her and her late family, Laudomia's hand rests on a dog, a symbol of fidelity, perhaps symbolizing her loyalty to their memory. The two women are dressed in full wedding regalia, Laudomia in a bold red that sets her apart from the other more neutrally attired subjects. Camillo's sword and cross signify his identity as a knight of the Portuguese Order of Christ, while the paper in Annibale's hand may allude to his control over the sisters' finances.
It is suggested that Laudomia Gozzadini commissioned this portrait as a statement of her legitimacy and patrimonial rights. Correspondence shows that Annibale, the executor of Ulisse's will, owed Laudomia money; over this conflict she took him to court.[2] Painting the sisters in their decadent wedding jewelry, purchased by their father, serves as a reminder that the money they brought with them into their marriages is ultimately of their own inheritance, and not to be withheld from them by their husbands. This theory is supported compositionally, as the sisters are painted in front of their husbands, taking up much more space, light falling directly onto their faces, while their husbands fade into the dark background.
Early in her career, she was most famous for painting upper-class residents of her native Bologna, notably noblewomen. Even as her gender may have hindered her career in a society less accustomed to female artists, it may have made women more comfortable sitting for her. Her relationships with female clients were often unusually warm; multiple women who sat for portraits painted by Fontana, such as the Duchess of Sora Constanza Sforza Boncompagni, later served as namesakes or godmothers for her children.[2]
- ^ "La famiglia Gozzadini - Pinacoteca Nazionale di Bologna". www.pinacotecabologna.beniculturali.it (in Italian). Retrieved 2017-03-01.
- ^ a b Murphy, Caroline P. (1996-01-01). "Lavinia Fontana and "Le Dame della Città": understanding female artistic patronage in late sixteenth-century Bologna". Renaissance Studies. 10 (2): 190–208.