There is no blending of colours in this work (or in others attributed to Nelli that have been examined by Lari), with the exception of one figure: the finely painted apostle seen in strong chiaroscuro, second from the right. She was trained in drawing and painting, probably by nuns. Nelli studiously avoided going in that direction.

I love to take requests! Recent scholarship has changed old assumptions about art produced for convents. In this case the refectory of Santa Maria Novella in Florence. She was a nun of the Dominican convent of St. Catherine of Siena located in Piazza San Marco, Florence, and was heavily influenced by the …

by Penny | 20 Mar, 2017 | Advancing Women Artists AWA, Exhibitions, Florentine History, Medieval History, News, Painting, Religious History, Renaissance Art, Restoration, Social History, The Last Supper, Women artists | 6 comments. Suor Plautilla’s image clearly draws upon these images but she has added three additional characters to the mixture, Joseph of Arimathea and the other two Marys who supported Jesus’s mother, Mary, whom Evangelist John describes as Mary, the mother of the sons of Zebedee and Mary of Clopas. They reveal that Santa Caterina, like so many convents, provided early modern women with an important but often forgotten avenue for artistic expression.

The daughter of a merchant … https://www.indiegogo.com/projects/thefirstlast-plautilla-nelli-painting-restoration-history-italy–2#/. Sister Plautilla Nelli (1524 – 1588) was a self-taught nun-artist and the first-known female Renaissance painter of Florence. Suor Plautilla Nelli (1524–1588) is the first-known female Renaissance painter of Florence, Italy.. These include Vasari and his Northern counterpart Carel van Mander, the Dominican friar Serafino Razzi, and the Florentine art chronicler Francesco Bocchi. Andrea del Sarto had also reused some of these positions in 1423-24 for his Pieta with Saints. Save my name, email, and website in this browser for the next time I comment. Lamentation with Saints is a Christian religious painting by nun and artist Plautilla Nelli who was the first known female painter from Florence.

Vasari observed that Nelli ‘would have done marvellous things if, like men, she had been able to study and to devote herself to drawing and copying living and natural things’. This painting is the best known work of the artist. Other writers pointed to a set of models for Nelli’s painting in Lamentations by Perugino, Fra Bartolommeo (Fig. 4), from which she took only the figure of Joseph of Arimathea.7 Departing from the print, Nelli made Joseph’s domically crowned headdress echo the domes of a city behind him, inviting our speculation that the three segments of her invented landscape might be creatively correlated with the men who overlap them.

By age thirty-five, she had created several large paintings for Santa Caterina, and was receiving income from paintings sold “outside,” perhaps to the Florentine noblemen and women who, Vasari said, owned many of her works.2 Suor Plautilla did not have access to studio training available to male artists, but since Santa Caterina was not cloistered until 1575, she was free to learn from the exceptional wealth of art visible in Florence. The Art Center in our town of Ludington Michigan is sponsoring a celebration of the history of women in the arts during the month of March 2019. View fullsize. ‘Lamentation with Saints (detail)’ was created in 1569 by Plautilla Nelli in Mannerism (Late Renaissance) style.

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