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Women social role in renaissance
Women social role in renaissance
Renaissance era in Italy and women
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Recommended: Women social role in renaissance
Historians and scholars often overlook the part that women played in the Renaissance. Did women have a Renaissance? The period did not occur in a male only vacuum; women played an important part in the changes taking place across Europe. No matter a woman’s station in the class system, women, were still considered the sinful daughter of Eve, the downfall of man. Into this world stepped Isabella d’Este, one of the great women of the Renaissance.
Isabella d’Este left behind not only the great works of art that she collected and commissioned during her lifetime but a treasure trove “amounting to upwards of two thousand letters, which have fortunately been preserved.” Through these letters, scholars learn what kind of woman Isabella was, and what she expected from her patronage. One such example of Isabella’s correspondence is the “chronicles of [her] efforts between 1496 and 1505 to obtain the Battle Between Virtue and Vice from Pietro Perugino.” The Marchesa undoubtly, one of the great art patrons of her time, she lived among the masters of Renaissance art.
Isabella became a powerful woman at a time when women were still mostly cut off from learning and art. She surpassed both her husband and her father in patronage of the arts as well as any other women on the playing field. Clifford Brown writes, “it is even more difficult to attempt to explain the factors that motivated these pursuits, for it was by no means a foregone conclusion that an individual of Isabella’s rank and station in life would have so singlemindly attempted to excel in areas only infrequently associated with her gender.”
Chapter One: Early Isabella
Born in 1474, the eldest child of the Duke Ercole I and his Duchess Leonora of Aragon. All of Ferrara rejoi...
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...wright Ady. New York: Dutton & Company, 1905.
Gonzaga, Isabella D'Este to Zorzo Brognolo. Letter, Fall 1490. Isabella d'Este, Marchesa of Mantua. Edited by Julia Mary Cartwright Ady. Boston: Dutton And Company, 1905.
Gonzaga, Isabella D'este to Zzorzo Brognolo. Letter, undated. Isabella d'Este, Marchesa of Mantua. Edited by Julia Mary Cartwright Ady. Boston: Dutton And Company, 1905.
Meyer, Edith Patterson. First Lady of the Renaissance: A Biography of Isabella d'Este. Boston: Little, Brown And Company, 1970.
Plumb, J.H.. The Italian Renaissance. First Mariner Books edition 2001. Boston: Mariner Books, 1961.
Robin, Diana, Anne B. Larsen, and Carole Evans, eds. Encyclopedia of Women in the Renaissance: Italy, France and England. Santa Barbara: Abc Clio, 2007.
Vinci, Lenardo Da. Portrait of Isabella d'Este. Paris, France, Louvre, 1499. Charcoal drawing on paper.
In the book, Giovanni and Lusanna, by Gene Bucker, he discusses the scandalous actions of a Florentine woman taking a wealthy high status man to court over the legality of their marriage. Published in 1988, the book explains the legal action taken for and against Lusanna and Giovanni, the social affects placed on both persons throughout their trial, and the roles of both men and women during the time. From the long and complicated trial, it can be inferred that women’s places within Florentine society were limited compared to their male counterparts and that women’s affairs should remain in the home. In this paper, I will examine the legal and societal place of women in Florentine society during the Renaissance. Here, I will argue that women were the “merchandise” of humanity and their main objective was to produce sons.
Barbara Strozzi was one of the most talented figures of the seventeenth century. Strozzi was born in Venice in 1619 to Isabella Garzoni, servant to Giulio Strozzi. In 1628, Giulio Strozzi acknowledged Barbara as his natural daughter by referring to her in his will as his “figliuola elettiva”, meaning elective daughter and designating her as his heiress. (Spiller, Melanie. 2012)
Men and women were held under drastically different expectations in Spain and the Spanish colonies in the late sixteenth and early seventeenth centuries. These set gender roles are effectively demonstrated through the life of Catalina de Erauso, who experienced the entire spectrum through her adventures as a transvestite in this time period. Opportunities and freedom in culture, politics and economy, and religion varied greatly between men and women. Men were capable of living out their lives independently and ambitiously. Women, on the other hand, were taught to be reliant and mild-mannered characters in the background. De Erauso shatters this idea of a woman’s role by fulfilling a life of adventure and power. In doing so, she briefly dispels the obligations of gender roles, if only for herself. Catalina de Erauso was a nun, a lieutenant, and a history-maker.
The achievement of gender equality is one of the most important movements for advancement of society. In the High Middle Ages, however, it was even more challenging to bring such sensitive debate. Christine de Pizan, a highly educated and religious woman, chose an unusual pathway for a woman in her era that she became a writer to support her family. Christine’s work, “The Treasure of the City of Ladies,” could be seen as feminist because she offered a broad view of how an ideal artisan’s wife should be.
In the traditional political history of Italy the people outside of the ruling class of the society were rarely studied. Only with the use of social history did the issues of class and gender begin to be debated by scholars. Numerous recent articles have done a great job of analysing particularly men of high status. In this paper I will look at the lower classes of Renaissance Florence. More specifically, I will center my focus on the lives of women during this era, how they were treated and viewed by people of other classes and how women were viewed and treated by men.
MARY D. GARRARD, “Artemisia Gentileschi: The Image of the Female Hero in Italian Baroque Art”, Princeton, Princeton, University Press, 1989.
Lorenzo De Medici can be considered as one of the most influential men of the 13th century. His work in political affairs and administration were renowned in all Italy and his family could count on him in every aspect. Lorenzo was also a promoter of a new period called Renaissance. He was one of the first “mecenate” to explore this new way of art. In this project, I will concentrate how he developed art in Florence, giving a clear example through an Artist of that period that was working for him: Sandro Botticelli. His work “The Spring” is a well-defined example of what we can call “art in the Renaissance”, in particular for the Italian Renaissance.
Prescott, History of the Reign of Ferdinand and Isabella the Catholic, edition of 1838, i, p. 390; ii, p. 40.
Artemisia Gentileschi (1593 – 1652), daughter of a well-known Roman artist, was one of the first women to become recognized in her time for her work.. She was noted for being a genius in the world of art. But because she was displaying a talent thought to be exclusively for men, she was frowned upon. However by the time she turned seventeen she had created one of her best works. One of her more famous paintings was her stunning interpretation of Susanna and the Elders. This was all because of her father. He was an artist himself and he had trained her and introduced her to working artists of Rome, including Michelangelo Merisi da Caravaggio. 1. In an era when women artists were limited to painting portraits, she was the first to paint major historical and religious scenes. After her death, people seemed to forget about her. Her works of art were often mistaken for those of her fathers. An art historian on Artemisia, Mary D. Garrard notes that Artemisia “has suffered a scholarly neglect that is unthinkable for an artist of her caliber.” Renewed and long overdue interest in Artemisia recently has helped to recognize her as a talented renaissance painter and one of the world’s greatest female artists. She played a very important role in the renaissance.
Woodbridge, Linda. Women and the English Renaissance: Literature and the Nature of Womankind, 1540-1620. Urbana and Chicago: U of Illinois, 1986.
After the Middle Ages, Europe experienced a Renaissance, or an era of rebirth. This era provided Europe with new discoveries and advancements in the areas of geography, politics, social, economic and culture. It lasted between 1300-1500 and is considered the transition from medieval times to the early modern world. Some notable people from this area are Michelangelo, Leonardo da Vici, Raphael and Donatello. However, the group most often overlooked during this period were women. In Joan Kelly-Gadol's essay "Did Women Have a Renaissance," she stated that although that it was a time for new developments and rebirth, it mostly benefited men. Although not talked about in full depth in history textbooks, women were a viable
The Renaissance was beneficial in many ways, from its enlightening ideas, to its art. However, there are many debates about how The Renaissance changed the lives women. Did women benefit from The Renaissance?
Patterson Meyer, Edith. First lady of the Renaissance : a biography of Isabella d'Este. Boston: Little, Brown, 1970.
The concept of women’s struggle to find a place in society appears to be a relatively modern one, though in reality women have struggled with living in a time period that works against them for the entirety of history. Even throughout the Middle Ages, a period known for its suppressing and constraining ideals, some extraordinary women stood up against what was socially accepted at the time and made history in a line of work that is vastly underrepresented by women leaders: Medieval Christianity. Marguerite Porete and Catherine of Siena were two women who pushed the boundaries of the belief system in their times. These two women show simple congruencies such as, underlying theological similarities as well as astounding differences, such as their
Larmann, R., & Shields, M. (2011). Art of Renaissance and Baroque Europe (1400–1750). Gateways to Art (pp. 376-97). New York: W.W. Norton.