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{{Short description|Italian artist (1599–1622)}}
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[[File:Arcangela Paladini - Self-portrait in Uffizi Gallery.jpg|thumb|Self-portrait in the [[Uffizi]]]]
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'''Arcangela Paladini''' (or Arcangiola Palladini) ([[Pisa, Italy|Pisa]] 1599 – [[Florence, Italy|Florence]] 1622) was an Italian painter, singer and poet.


==Early life and education==
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'''Arcangela Paladini''' (or Arcangiola Palladini) ([[Pisa, Italy|Pisa]] 1599 - [[Florence, Italy|Florence]] 1622) was an Italian painter, singer and poet.
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Arcangela Paladini was the daughter of Florentine painter Filippo Paladini (1544–1616), and a pupil of [[Alessandro Allori]] (1535-1607). Paladini was a contemporary of [[Baroque art|Baroque]] painter [[Artemisia Gentileschi]] (1593–1656). She may have served as the model for an image of [[Saint Cecilia]], the patron saint of music, painted by Artemisia.<ref name=Hanning>{{cite journal|last=Hanning|first=Barbara Russano|title=From Saint to Muse: Representations of Saint Cecilia in Florence|journal=Music in Art|year=2004|pages=98–99}}</ref> Paladini was already an accomplished artist by the time she turned 15.<ref name="Fortune 2010">{{cite journal|last=Fortune|first=Jane|title=Self Portraits by Women in the Vasari Corridor|journal=The Florentine|year=2010|issue=121}}</ref> After moving from Pisa to Florence in 1615, she began working under acclaimed [[Mannerist art|Mannerist]] painter [[Jacopo Ligozzi]].<ref>{{cite journal|last=Masera|first=Maria Giovanna|title=Una cantante del seicento alla corte medicea:Arangiola Palladini|journal=Rassegna Musicale|year=1943|volume=16|page=50}}</ref>


== Career ==
==Training and Contemporaries==
Arcangela Paladini was proficient in many artistic areas, such as singing, writing poetry, and painting, as well as other areas.<ref>Barker, Sheila (2018). “The First Biography of Artemisia Gentileschi: Self-Fashioning and Proto-Feminist Art History in Cristofano Bronzini’s Notes on Women Artists.” Mitteilungen Des Kunsthistorischen Institutes in Florenz 60, no.3 : 411-413.</ref> She was skilled in these areas by the age of 15. In addition to being a skilled painter, she also created embroidered works, such as portraits and images of flowers, foliage, and various types of wildlife.<ref>Barker, Sheila (2018). “The First Biography of Artemisia Gentileschi: Self-Fashioning and Proto-Feminist Art History in Cristofano Bronzini’s Notes on Women Artists.” Mitteilungen Des Kunsthistorischen Institutes in Florenz 60, no.3: 411-413.</ref> Although only one of her works has been identified, there are descriptions of her portraits of the Grand Duke Cosimo II in the Medici inventories, as well as evidence of Maria Maddelena's spreading of her work throughout the continent .<ref>Barker, Sheila (2018). “The First Biography of Artemisia Gentileschi: Self-Fashioning and Proto-Feminist Art History in Cristofano Bronzini’s Notes on Women Artists.” Mitteilungen Des Kunsthistorischen Institutes in Florenz 60, no.3: 411-413. </ref> The descriptions describe both pen-and-ink portraits and embroidered portraits of Cosimo II.<ref>Goldenberg Stoppato, Lisa (2016). “Arcangela Paladini and the Medici”, in: “Women Artists in Early Modern Italy: Careers, Fame, and Collectors”, ed. By Sheila Barker, London/Turnhout: 81-97.</ref> In 1621, she was commissioned to create her self portrait that was to eventually be displayed in the [[Vasari Corridor]].<ref>Fortune, Jane, and Linda Falcone (2010). “Invisible women. Forgotten artist of Florence. Ediz. italiana e inglese.”</ref>

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Arcangela Paladini was the daughter of Florentine painter Filippo Paladini (1544-1616), a pupil of [[Alessandro Allori]] (1535-1607). Paladini was a contemporary of [[Baroque art|Baroque]] painter [[Artemisia Gentileschi]] (1593-1656). Widely acclaimed for her singing voice, and long recognized by scholars more for her musical talents than her painterly ones, she may have served as the model for an image of [[Saint Cecilia]], the patron saint of music, painted by Artemisia.<ref name=Hanning>{{cite journal|last=Hanning|first=Barbara Russano|title=From Saint to Muse: Representations of Saint Cecilia in Florence|journal=Music in Art|date=2004|page=98-99}}</ref> Paladini was already an accomplished artist by the time she turned 15.<ref>{{cite journal|last=Fortune|first=Jane|title=Self Portraits by Women in the Vasari Corridor|journal=The Florentine|date=2010|issue=121}}</ref> After moving from Pisa to Florence in 1615, she began working under acclaimed [[Mannerist art|Mannerist]] painter [[Jacopo Ligozzi]].<ref>{{cite journal|last=Masera|first=Maria Giovanna|title=Una cantante del seicento alla corte medicea:Arangiola Palladini|journal=Rassegna Musicale|date=1943|volume=16|page=50}}</ref>


==Relationship with the Medici Dynasty==
==Relationship with the Medici Dynasty==
She initially lived in the monastery of [[Saint Agatha]], where she was supported by the Grand Duchess Maria Maddalena de’ Medici, who would become her greatest benefactor.<ref name=Dabbs>{{cite book|last=Dabbs|first=Julia K.|title=Life Stories of Women Artists 1550-1800: An Anthology|date=2009|publisher=Ashgate|location=Surrey|page=298-99}}</ref> At age 17, Paladini married Antwerp-born tapestry-maker Jan Broomans upon the suggestion of the Grand Duchess, who also invited Paladini to serve her at courtand introduced her to her husband Grand Duke [[Cosimo II de' Medici, Grand Duke of Tuscany|Cosimo II]].<ref name="Invisible Women">{{cite book|last=Fortune|first=Jane|title=Invisible Women: Forgotten Artists of Florence|date=2009|publisher=The Florentine Press|location=Florence|page=64-65}}</ref> In 1621, Paladini painted a self-portrait for Maria Maddalena, who displayed the painting in her own room.<ref name=Dabbs>{{cite book|last=Dabbs|first=Julia K.|title=Life Stories of Women Artists 1550-1800: An Anthology|date=2009|publisher=Ashgate|location=Surrey|page=298-99}}</ref> The portrait later joined the collection that still adorns the [[Vasari Corridor]] and was restored in 1967.<ref>{{cite journal|last=Fortune|first=Jane|title=Self Portraits by Women in the Vasari Corridor|journal=The Florentine|date=2010|issue=121}}</ref> It is the only painting currently identified by the artist.<ref name=Dabbs>{{cite book|last=Dabbs|first=Julia K.|title=Life Stories of Women Artists 1550-1800: An Anthology|date=2009|publisher=Ashgate|location=Surrey|page=298-99}}</ref>
She initially lived in the monastery of [[Saint Agatha]], where she was supported by the Grand Duchess [[Maria Maddalena de' Medici]], who later became her main benefactor.<ref name=Dabbs>{{cite book|last=Dabbs|first=Julia K.|title=Life Stories of Women Artists 1550-1800: An Anthology|year=2009|publisher=Ashgate|location=Surrey|pages=298–99}}</ref> At age 17, at the suggestion of the Grand Duchess, Paladini married Antwerp-born tapestry-maker Jan Broomans. The Grand Duchess also invited Paladini to serve her at court, and introduced her to her husband Grand Duke [[Cosimo II de' Medici, Grand Duke of Tuscany|Cosimo II]].<ref name="Invisible Women">{{cite book|last=Fortune|first=Jane|title=Invisible Women: Forgotten Artists of Florence|year=2009|publisher=The Florentine Press|location=Florence|pages=64–65}}</ref> In 1621, Paladini painted a self-portrait for Maria Maddalena, who displayed the painting in her own room.<ref name="Dabbs"/> The portrait was later added to the collection displayed in the [[Vasari Corridor]] and was restored in 1967.<ref name="Fortune 2010"/> It is the only painting currently identified by the artist, though there are inventories of other works recorded.<ref name="Dabbs"/>


==Death==
==Commemorating the Artist==


Paladini died in Florence in 1622 and was buried in the church of Santa Felicità where the Grand Duchess commissioned a tomb memorial, a rare honor.<ref>{{cite journal|last=Orfanello|first=Teresa|title=Pittrice 'Cantatora'|journal=MAM|date=Dec. 1999|issue=46|page=31}}</ref> The tomb was sculpted by Agostino Bugiardini and Antonio Novelli.<ref>{{cite journal|title=Gli Artisti della Compagnia di Santa Barbara|journal=La S.S. Annunziata|date=March-April 2013|issue=2|page=6}}</ref> The epitaph compares Paladini to the goddess [[Athena]] and the painter Apelles.<ref name=Dabbs>{{cite book|last=Dabbs|first=Julia K.|title=Life Stories of Women Artists 1550-1800: An Anthology|date=2009|publisher=Ashgate|location=Surrey|page=298-99}}</ref> In 2004 Roman theater director Alberto Macchi published a play he wrote inspired by Paladini’s life story.
Paladini died at the age of 23 (six years after her marriage) in Florence in 1622 and was buried in the church of [[Santa Felicita, Florence|Santa Felicità]] where the Grand Duchess commissioned a tomb memorial, a rare honor.<ref>{{cite journal|last=Orfanello|first=Teresa|title=Pittrice 'Cantatora'|journal=MAM|date=Dec 1999|issue=46|page=31}}</ref> The tomb was sculpted by [[Agostino Bugiardini]] and [[Antonio Novelli]].<ref>{{cite journal|title=Gli Artisti della Compagnia di Santa Barbara|journal=La S.S. Annunziata|date=March–April 2013|issue=2|page=6}}</ref> The epitaph compares Paladini to the goddess [[Athena]] and the painter Apelles.<ref name="Dabbs"/>


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==References==
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==External links==
{{Commons category}}


{{Authority control}}


{{DEFAULTSORT:Paladini, Arcangela}}

[[Category:1599 births]]
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==References==
[[Category:1622 deaths]]
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<references />
[[Category:Italian women painters]]
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[[Category:17th-century Italian painters]]
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[[Category:17th-century Italian women artists]]
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Latest revision as of 01:52, 19 July 2024

Self-portrait in the Uffizi

Arcangela Paladini (or Arcangiola Palladini) (Pisa 1599 – Florence 1622) was an Italian painter, singer and poet.

Early life and education

[edit]

Arcangela Paladini was the daughter of Florentine painter Filippo Paladini (1544–1616), and a pupil of Alessandro Allori (1535-1607). Paladini was a contemporary of Baroque painter Artemisia Gentileschi (1593–1656). She may have served as the model for an image of Saint Cecilia, the patron saint of music, painted by Artemisia.[1] Paladini was already an accomplished artist by the time she turned 15.[2] After moving from Pisa to Florence in 1615, she began working under acclaimed Mannerist painter Jacopo Ligozzi.[3]

Career

[edit]

Arcangela Paladini was proficient in many artistic areas, such as singing, writing poetry, and painting, as well as other areas.[4] She was skilled in these areas by the age of 15. In addition to being a skilled painter, she also created embroidered works, such as portraits and images of flowers, foliage, and various types of wildlife.[5] Although only one of her works has been identified, there are descriptions of her portraits of the Grand Duke Cosimo II in the Medici inventories, as well as evidence of Maria Maddelena's spreading of her work throughout the continent .[6] The descriptions describe both pen-and-ink portraits and embroidered portraits of Cosimo II.[7] In 1621, she was commissioned to create her self portrait that was to eventually be displayed in the Vasari Corridor.[8]

Relationship with the Medici Dynasty

[edit]

She initially lived in the monastery of Saint Agatha, where she was supported by the Grand Duchess Maria Maddalena de' Medici, who later became her main benefactor.[9] At age 17, at the suggestion of the Grand Duchess, Paladini married Antwerp-born tapestry-maker Jan Broomans. The Grand Duchess also invited Paladini to serve her at court, and introduced her to her husband Grand Duke Cosimo II.[10] In 1621, Paladini painted a self-portrait for Maria Maddalena, who displayed the painting in her own room.[9] The portrait was later added to the collection displayed in the Vasari Corridor and was restored in 1967.[2] It is the only painting currently identified by the artist, though there are inventories of other works recorded.[9]

Death

[edit]

Paladini died at the age of 23 (six years after her marriage) in Florence in 1622 and was buried in the church of Santa Felicità where the Grand Duchess commissioned a tomb memorial, a rare honor.[11] The tomb was sculpted by Agostino Bugiardini and Antonio Novelli.[12] The epitaph compares Paladini to the goddess Athena and the painter Apelles.[9]

References

[edit]
  1. ^ Hanning, Barbara Russano (2004). "From Saint to Muse: Representations of Saint Cecilia in Florence". Music in Art: 98–99.
  2. ^ a b Fortune, Jane (2010). "Self Portraits by Women in the Vasari Corridor". The Florentine (121).
  3. ^ Masera, Maria Giovanna (1943). "Una cantante del seicento alla corte medicea:Arangiola Palladini". Rassegna Musicale. 16: 50.
  4. ^ Barker, Sheila (2018). “The First Biography of Artemisia Gentileschi: Self-Fashioning and Proto-Feminist Art History in Cristofano Bronzini’s Notes on Women Artists.” Mitteilungen Des Kunsthistorischen Institutes in Florenz 60, no.3 : 411-413.
  5. ^ Barker, Sheila (2018). “The First Biography of Artemisia Gentileschi: Self-Fashioning and Proto-Feminist Art History in Cristofano Bronzini’s Notes on Women Artists.” Mitteilungen Des Kunsthistorischen Institutes in Florenz 60, no.3: 411-413.
  6. ^ Barker, Sheila (2018). “The First Biography of Artemisia Gentileschi: Self-Fashioning and Proto-Feminist Art History in Cristofano Bronzini’s Notes on Women Artists.” Mitteilungen Des Kunsthistorischen Institutes in Florenz 60, no.3: 411-413.
  7. ^ Goldenberg Stoppato, Lisa (2016). “Arcangela Paladini and the Medici”, in: “Women Artists in Early Modern Italy: Careers, Fame, and Collectors”, ed. By Sheila Barker, London/Turnhout: 81-97.
  8. ^ Fortune, Jane, and Linda Falcone (2010). “Invisible women. Forgotten artist of Florence. Ediz. italiana e inglese.”
  9. ^ a b c d Dabbs, Julia K. (2009). Life Stories of Women Artists 1550-1800: An Anthology. Surrey: Ashgate. pp. 298–99.
  10. ^ Fortune, Jane (2009). Invisible Women: Forgotten Artists of Florence. Florence: The Florentine Press. pp. 64–65.
  11. ^ Orfanello, Teresa (Dec 1999). "Pittrice 'Cantatora'". MAM (46): 31.
  12. ^ "Gli Artisti della Compagnia di Santa Barbara". La S.S. Annunziata (2): 6. March–April 2013.
[edit]
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