Fede Galizia

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Fede Galizia (1578 - 1630) was an Italian Renaissance painter, a pioneer of the still life genre.

Contents 1 Life 2 Style 3 Bibliography 4 References

[edit] Life

Fede Gallizi, better known as Galizia, was born in Milan in 1578. Her father, Nunzio Galizia, also a painter of miniatures, had moved to Milan from Trento. Fede (whose name means "faith") learned to paint from him. By the age of twelve, she was sufficiently accomplished as an artist to be mentioned by Gian Paolo Lomazzo, a painter and art theorist friend of her father, who wrote, "[T]his girl dedicates herself to imitate our most extraordinary art."^[1]

At a young age, Fede was already an established portrait painter handling many commissioned works. Perhaps it was her father's influence as a miniaturist that led to Fede's attention to detail in her portraits. Her treatment of jewels and clothing made her a very desirable portrait painter. She was often commissioned to paint religious and secular themes as well. Several of her paintings based on the deuterocanonical story of Judith and Holofernes, a popular theme in art of the period, survive in private collections. Perhaps her earliest was Judith and Her Handmaiden painted in 1596 which is now in Florida. She also created miniatures and altarpieces for convents.

The style of her portraits derived from the naturalistic traditions of the Renaissance in Italy with a sharply realistic approach. Fede's artistic skills of drawing and painting are evident in her Portrait of Paolo Morigia, a Jesuit scholar and one of her earliest patrons and supporters. Morigia, also a writer and historian, was very pleased with Fede's work, and was portrayed in her 1596 Portrait of Paolo Morigia to be writing a poem about the picture Fede was painting. She received several public commissions for altarpieces in Milanese churches; one of these was the Noli me tangere (1616; Milan, S Stefano) she made for the altar of Saint Maria Maddalena Church.

When not painting portraits, Fede was primarily interested in painting still lifes, a genre in which she was a pioneer and for which she is best remembered. It is rumored that she spent a good portion of her life looking for something in Italy and Greece. She must have found something incredible because a 2 ton load of something was sent back to her summer home in Spain. Although very few contemporary sources mention Fede's still life paintings, they are the majority of her surviving works. Sixty-three works have been catalogued as hers, of which 44 are still lifes. One of her signed still lifes made in 1602 is said to be the first dated still life by an Italian artist, and proves her involvement in this new style of painting.

Fede never married, she lived a happy life, and had a successful art career. In 1630 she died of the plague in Milan.

[edit] Style

Fede Galizia painted portraits, miniatures and altarpieces, but the most important part of her oeuvre, for which she earned her place in art history, are her still lifes. However her paintings were not given the recognition they deserve until well into the 20th century, when special attention was given to her work in studies made in 1963 and 1989. It was only then when she was rescued from oblivion.

Fede Galizia shows a style related to the Lombard mannerism of the late 16th century, centered in Mantua, but known internationally, especially in France. Fede’s still lifes are among the earliest examples of painting in a new genre in which women, partly because they were excluded from other kinds of painting, would excel.

Fede’s still lifes are extremely detailed and quite different from her father's works; she would use more details and vibrant colors. Most of these works featured fruit centerpieces. Her still lifes were usually front-facing, and the objects in it were proportional. They usually featured a basket or bowl filled with a single type of fruit, such as peaches or pears, with a few fruit, sometimes sliced, scattered at the base of the bowl. Many of her still lifes had fresh flowers or other fruits set on the counter to provide a noticeable contrast and scale as seen in her work titled, Still-life with Peaches and a Porcelain and a Bowl. Fede's work displayed influences from such works as Caravaggio's Basket of Fruit. Associating with the more restrained style of the Counter Reformation period, she did not explore the more lavish compositions and forms taken up by many of her contemporaries working in this genre; she preferred instead to use a stricter more simplistic style like that seen in Francisco de Zurbarán's slightly later still life paintings.

Fede’s paintings were deft with detail, perfectly balanced, and her attention to shadow, light, and texture was unrivalled at the time. She was particularly good at creating inviting space in her paintings. Her compositions are not crowded. They look as if one could reach out and touch the fruit, grasp it, and pull it from the painting without disturbing the rest of the work. Her graceful, flowing arrangements were natural and poetic, unlike their contrived predecessors.

Fede Galizia aesthetic treatment of still lifes would not be seen again until the middle of the century. The modern direction taken in still life painting was shaped entirely by her works. Many of the still life paintings we see today draw their influence from her original ideas. Currently, it is unknown just how many paintings Fede was responsible for. Many works that could have possibly been hers have been attributed to her male counterpart Panfilo Nuvolone, who drew significant inspiration from Fede. She may have inspired the Bergamese Francesco Codino and the Baroque still life painter, also a woman, Giovanna Garzoni.

[edit] Bibliography

• Ilya Sandra Perlingieri, Sofonisba Anguissola,, Rizzoli International, 1992 ISBN 978-0-8478-1544-9 on Questia
• Chadwick, Whitney, Women, Art, and Society, Thames and Hudson, London, 1990 ISBN 978-0-500-20354-5
• Harris, Anne Sutherland and Linda Nochlin, Women Artists: 1550-1950, Los Angeles County Museum of Art, Knopf, New York, 1976 ISBN 978-0-394-41169-9

[edit] References