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• 1 2020-10-14T21:49:21+00:00 Sofonisba Anguissola: The World's "First" Female Artist 15 By: Caroline Gardner plain 2021-01-01T03:12:24+00:00

  Sofonisba Anguissola's The Chess Game, 1555 is filled with symbols- producing commentary on her relationship with her sisters, “the new chess,” and female intelligence. To most viewers, this work appears to display a casual image of young girls enjoying a game of chess together. But with the knowledge of Sofonisba’s background, along with the analysis of the game of chess and its relevance, it is apparent this piece is full of intention. During the Renaissance Period, in which this painting was created, women were not yet accepted as professional artists. Sofonisba Anguissola is believed to be one of  the first female artists with a prominent international reputation. Receiving a lesser education than that of training male artists, along with other discouraging barriers against female artists of the time limited women’s access to creating such works as Sofonisba Anguissola’s The Chess Game, 1555. 

  The main subject of this piece is subjectively the chess board itself. Sofonisbia’s three sisters- Europa, Minerva, and Lucia, are pictured playing a game of “new chess.” In the early 16th century, chess underwent changes in the rules of the game which allowed for a faster pace. Pieces were not allotted two spaces of movement rather than one. But most importantly, “the queen became the most powerful piece on the board, not capable of moving not just one space but an unlimited number of spaces in any direction, horizontally, vertically, or diagonally” Meaning that the queen now held more  power than the king piece, this rule greatly contrasted the gender expectations of the time- making the inclusion of a chess game in Sofonisba’s artwork an intentional feminist statement. Besides the change in rules, women’s access to playing the game was chess was also not widely accepted at this time. Chess was viewed as an extremely intellectual activity, not suitable for young women during the Renaissance period. Sofonisba is claiming the power of female intelligence by both representing women playing chess within the painting, and the talent that went into the painting itself. The intense gaze offered by the winner of said game: Lucia, alerts the viewer that she is claiming her power as a female artist, forcing the onlookers to accept her sister’s artistry. Her facial expression appears strong and smug, making direct eye contact with her admirers. 

  Relationships between Sofonisba and her younger sisters are also considered her The Chess Game, 1555. Sofonisba paints her three sisters- Europa, Minerva, and Lucia, who would all go one to occupy their own careers as artists. Each of the sisters look upon one another with scholarly admiration as they each were employed as students and teachers to one another. Minerva, the youngest, looks towards Europa as her possible role model. Europa looks towards Lucia, and lastly Lucia is staring into the eyes of the painter, Sofonisba, and or the other viewers. Lucia Anguissola most likely served as an apprentice underneath her older sister. Once Lucia became a more established artist herself, she challenged Sofonisbia and believed that her work was of equal talent and prestige. Her smiling gaze seems to be searching for approval, and possibly looking for a challenge from her master that would soon become her competitor. 

  The style and elements found in Sofonisba’s The Chess Game, 1555 equally contribute to the narrative being told. Her use of landscape, portrait, and linear perspective all within one piece make a statement in regards to Sofonisba’s artistic ability as a woman. By applying these skills to her artwork, she is determining that she is equally as capable as Renaissance male artists. Linear perspective is a painting technique that was developed during the Renaissance period. This technique uses mathematics to give depth to a two dimensional image, i.e. the contrast between the landscape and portraits in The Chess Game, 1555. The background shows a mountainous coast with castle-like buildings tucked into the crests of the earth; framing foliage shows that the coast is far beyond the setting of their chess game. Closest to the viewer are the portraits of the piece, showing intricate detail in each of their expressions, clothing, and interaction. The skill applied to detailing the women’s faces is very important to conveying the story of their sisterhood. Each of the sisters gaze upon one another, with Lucia sharing eye contact with the painter- Sofonisba. Her ability to express emotion in this painting allows the viewer to understand the dynamics of the sister’s relationships with one another- student and teacher. 

  Limitations placed on women during the Renaissance period contribute to the vigor of Sofonisba’s success as a recognized female artist. Women have been left out of intellectual pursuits since the beginning of time, more specifically so, women have not been granted the same education privileges as men. For example, drawing nudes has been at the center of artistic education since the Renaissance period, an endeavor that women had been left out of up until the 19th century. Women were not allowed to attend live drawing classes, ensuring that their only access to creating art was that of recreations of other people’s work. In most cases they were not granted the chance to be original, leaving no room for women to establish themselves as unique artists. Education would also require women to travel, leaving them susceptible to danger in regards to protecting their sexual purity. This prohibited many women from having access to education that would be necessary to their artistic ability.Further, Her sex prohibited her from subscribing to the desired artistic aesthetics of beauty throughout the Renaissance. As the female nude became more prominent in sixteenth century painting, Sofonisba could not contribute to this style because of her sex and marital status. She was an unmarried young woman, presumably a virgin, therefore her painting a female nude would have been considered outrageously inappropriate. Staying within the realm of her social status is what allowed Sofonisba to make a career of her artistry. 

  Her ability to succeed as a female artist was also sustained by her privilege and accessibility given to her by her father, Amilcare Anguissola. Amilcare, “a widower and nobleman who apparently decided to educate his seven children according to the humanist ideals of the Renaissance in the belief that they would bring honor to their city” This decision made by Sofonisba’s father was the first step taken that would allow her to overcome the constraints placed on female artists. She was privately trained for three years by Bernardino Campi and Bernardino Gatti. Although this would not compare to the lengthier education expected in training men, her time as a student would remain a privilege. Her career was also elevated by her recognition within the Spanish Court. In 1559 Sofonisba Anguissola became the Court painter and lady-in-waiting to Isabel of Valois and Anne of Austria. This position entailed her receiving a salary and resulted in the arrangement of her marriage to Fabrizio de Mancada. Her position within the court allowed her to make a career of her artwork, but simultaneously took away many of her own rights to her work. Sofonisba would not be able to personally profit from her portraits, and they would be subject to recreation by other artists.

   It is evident that Sofonisba Anguissola’s success came at a price. Her talent was confined by her age, gender, and social status- forced to maintain her image of a pure, respectable woman in order to be recognized. Sofonisba’s The Chess Game, 1555 exhibits her proficiency in portrait, landscape, and linear perspective- an establishment of her extraordinary talent. The game of chess, along with the queen’s new importance to the game, makes a statement on female intelligence. By showing young women engaged in a game of chess, Sofonisba successfully shows her audience that females are equally as capable as males.