The Spinet
4
plain
2020-10-19T04:27:28+00:00
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 what? 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 “daintier” when compared to a piano or organ, which has a “deep” and “rich” 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 space.
(1) Rebecca Arkenberg, “Renaissance Keyboards”. New York: The Metropolitan Museum of Art. 2002. https://www.metmuseum.org/toah/hd/renk/hd_renk.htm
(2) Arkenberg, https://www.metmuseum.org/toah/hd/renk/hd_renk.htm
