Sage Okolo – The Spinet, The Black Dress, and The Maid: How Sofonisba Anguissola Subverts the Male Gaze
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{ "value" : "Although Anguissola has crafted herself into this overly feminine landscape, she and her maid still hold the power because of how conscious the painting is. In a way, the portrait acts like reverse psychology. <h3><code>The very fact that Anguissola is able to craft such 1) realistic female forms, 2) clear and introspective lines that guide the viewer, and 3) accurate chiaroscuro should be cause for alarm, yet the portrait attempts to soothe that fear. The painting is overtly feminine, overwhelming with how many objects and tools used to construct a “safe” woman, an individual who does not threaten men. </code></h3>Anguissola’s role as an eligible woman for marriage is sealed with this portrait. In the end, she is presenting herself as domestic and womanly, confining herself to the spinet. It reads like an advertisement, one for Anguissola’s virginity and supposed docile nature even though her very talent of painting herself serves as a threat to the androcentric framework and beliefs of 16th century Italy.<p dir=\"ltr\">Sofoniba Anguissola very subtly creates and leaves messages of her beliefs within her work, that seems to only be for her female voyeurs. Anguissola’s work acts like an inside joke, in which she and female voyeurs are the only ones privy to the punchline. Her subtle protofeminism appears not only in her 1561 self portrait, but in her <em>Chess Game</em>, 1555, which she uses linear perspective but also carves her name into the chess board<a data-align=\"right\" data-annotations=\"\" data-size=\"medium\" data-caption=\"title-and-description\" resource=\"media/sophonisba-angussola-chess-game-1555\" href=\"https://scalar.chapman.edu/scalar/the-spinet-the-black-dress-and-the-maid-how-sofonisba-anguissola-subverts-male-gaze/media/Screen%20Shot%202020-10-18%20at%206.42.22%20PM.png\">.</a> Both of these together culminate into the idea that 1) Sofonisba can do linear perspective and does it well (again) and 2) she is capable of playing an extremely strategic game, so much so that this board is her’s. Due to the time period, Anguissola was heavily restricted on how much she was actually able to do. Despite that, the ways that Anguissola weaves and flexes her dominance and autonomy within her work through the arrangement of symbols and line-work, proves that she is conscious of how she is depicting herself. </p>", "type" : "literal" }
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{ "value" : "<p dir=\"ltr\">The Maid herself stands in shadows, her body bisected by both darkness and Anguissola. She carries an almost spirit-like presence as she blends into the background. It can feel unbalanced, how dark (or how contrasted) the painting suddenly gets when looking at the Maid in the background. The startling color change and contrast contribute to the seemingly unbalanced nature of Anguisola’s work.<br /><br /><code>Something is not quite right and begs the viewer to do a closer examination. When focusing on the Maid, what is perhaps the most interesting aspect of Anguissola’s portrait, is her eye-line: she is looking directly at the <em>viewer</em>. </code></p>Typically, young women of 16th century Italy were accompanied by maids who acted like governess, ensuring the chastity of the young female children and keeping them in check<a data-align=\"right\" data-annotations=\"\" data-size=\"medium\" data-caption=\"none\" resource=\"media/maidcu16\" href=\"https://scalar.chapman.edu/scalar/the-spinet-the-black-dress-and-the-maid-how-sofonisba-anguissola-subverts-male-gaze/media/fjkdlkgfnmksnkng.jpg\">.</a> They can serve as protection or as a barrier between the children and the dangerous outside the domestic sphere. (1) At first glance, it may appear as if Anguissola’s Maid is here to watch and govern her, however, the Maid is not watching Anguissola, she is watching the viewer. That is who she does not trust. Her look plus the guided eye-line is enough to subvert the “default” gaze by repositioning who is actually holding the power. Anguissola’s is overcompensating of her femininity for the sake of the male gaze or to appear alongside (or to almost blend into) the “default,” a concept conceived in 1971 by art historian, Linda Nochlin. The default is defined as “male viewpoint, unconsciously accepted as the viewpoint of the art historian”. (2)<h6>(1) Rafaella Sarti, “Who are Servants? Define Domestic Service in Western Europe (16th-21st Centuries)”, in S. Pasleau and I. Schopp (eds.), Proceeds of the “Servant Project”, Li\u00e8ge: \u00c9ditions de l’Universit\u00e9 de Li\u00e8ge. 2006, 22.<br />(2) Linda Nochlin, Why Have There Been No Great Women Artists?. New York: ARTnews. 1971, 1.</h6>", "type" : "literal" }
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{ "value" : "<p dir=\"ltr\">In Sofonisba Anguissola’s ‘Self Portrait with Maid ’ (1561), Sofonisbia Anguissola sits at a piano, staring forward at the viewer. The brightness of Anguissola’s face draws the eyes towards her. The shadows are heavy, and the darkest shadow Anguissola uses like a dividing line between her and her maid. Her maid sinks into darkness, carrying an almost apparition like feeling. Anguissola’s facial expression provides an air of annoyance. The viewer has interrupted Anguissola’s practice and for <em>what</em>? The first of several feminine symbols lies in the foreground of the painting. Anguissola is actually playing a virginal also known as a spinet. The spinet, physically, takes less space and is considered to be “sweeter” or “<a data-size=\"small\" data-align=\"right\" data-caption=\"title-and-description\" data-annotations=\"\" resource=\"media/bach-performed-on-a-spinet\" href=\"https://scalar.chapman.edu/scalar/the-spinet-the-black-dress-and-the-maid-how-sofonisba-anguissola-subverts-male-gaze/media/SPINET SOUND.mp3\">daintier</a>” when compared to a piano or organ, which has a “deep” and “<a data-size=\"small\" data-align=\"right\" data-caption=\"title-and-description\" data-annotations=\"\" resource=\"media/bach-performed-on-an-organ\" href=\"https://scalar.chapman.edu/scalar/the-spinet-the-black-dress-and-the-maid-how-sofonisba-anguissola-subverts-male-gaze/media/Organ.mp3\">rich</a>” sound. (1) This results in the spinet to be classified as an “ametuer” and thus feminine instrument. (2) By depicting herself at the spinet, Anguissola succeeds in shaping herself as a feminine figure that is not threatening, in fact, she barely takes up any <a data-size=\"medium\" data-align=\"left\" data-caption=\"title\" data-annotations=\"\" resource=\"media/sofonisba-at-spinet\" href=\"https://scalar.chapman.edu/scalar/the-spinet-the-black-dress-and-the-maid-how-sofonisba-anguissola-subverts-male-gaze/media/SPINET.png\">space. </a><br /> </p><h6 dir=\"ltr\">(1) Rebecca Arkenberg, “Renaissance Keyboards”. New York: The Metropolitan Museum of Art. 2002. https://www.metmuseum.org/toah/hd/renk/hd_renk.htm<br />(2) Arkenberg, https://www.metmuseum.org/toah/hd/renk/hd_renk.htm</h6>", "type" : "literal" }
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