Avtoportret renesančnih umetnic

diplomsko delo

Viviana Škrabec (Author), Beatriz Tomšič-Čerkez (Mentor)

Abstract

Ob misli na besedo avtoportret se mi sprva prikaže podoba katerega izmed slavnih umetnikov. Nič čudnega, ko pa so postale posamezne lastne podobe že skoraj ikone določenega zgodovinskega obdobja ali umetniškega gibanja. Zaradi opustitve zanimanja za nekdaj znane umetnice šele v današnjih časih slišimo kaj več tudi o njihovih avtoportretih. Še posebej so zanimive renesančne umetnice, ki so se začele prvič bolj množično kakor moški upodabljati iz povsem drugačnih razlogov. Ženske, ki so želele postati umetnice, so bile na nek način primorane ustvarjati avtoportrete, saj so jih k temu med drugim spodbudile tudi slabše možnosti izobraževanja. Izvzete so bile namreč najpomembnejši fazi učenja, zaradi česar niso mogle dosegati enake vrhunskosti kot moški umetniki. Zanje so bili primerni le nižje rangirani motivi, ki niso zahtevali prevelikega intelektualnega napora. Obraz je tako predstavljal prvo dostopno obliko učenja po živem modelu. Neenakopravnost jih je spodbudila k temeljitemu premisleku, kako se prikazati svetu. Dejanje ni bilo preveč enostavno, saj so morale uskladiti nesoglasja med družbenimi pričakovanji glede žensk in umetnic. V avtoportretih lahko opazimo, kako so se trudile zadostovati dvema sicer nasprotnima vlogama in ob tem upoštevati toliko več pravil. Kljub oviram so razvile inovativne avtoportrete in prek njih sporočale o sebi. Med njimi izstopajo zlasti lastne podobe renesančne italijanske umetnice Sofonisbe Anguissola, ki nam je zapustila širok opus tovrstnih del.

Keywords

portret;avtoportret;renesančna družba;renesančne umetnice;Sofonisba Anguissola;

Data

Language:	Slovenian
Year of publishing:	2017
Typology:	2.11 - Undergraduate Thesis
Organization:	UL PEF - Faculty of Education
Publisher:	[V. Škrabec]
UDC:	7.041.53(043.2)
COBISS:	11727945
Views:	814
Downloads:	142
Average score:	0 (0 votes)
Metadata:

Other data

Secondary language:	English
Secondary title:	Self-portrait of renaissance women artists
Secondary abstract:	When thinking of self-portraits, the first thing which comes to mind is most probably an image of one of the great male artists. It is no surprise that individual self images have almost become icons of a certain historical period or artistic movement. Due to the lack of interest in famous female artists of the past we have come to hear more about their self-portraits only recently. The Renaissance women artists, who started depicting themselves more often than male artists for completely different reasons are particularly interesting. Women who wanted to become artists were in a way forced to produce self-portraits even because of the lack of educational opportunities. They were exempted from the most important learning phase, which made them unable to achieve the same levels of exellence as male artists. The only suitable motifs for them were those considered of lower rank, which did not require excessive intellectual effort. The face was therefore the first motif that became accessible to women as a form of a study of a living model. Inequality urged them to consider with great care how to present themselves to the world. This was not an easy feat, as they had to deal with the contradictions between the social expectations of artists and women. In their self-portraits we can see that they attempted to satisfy both conflicting roles, as well as even more rules. Despite the obstacles they managed to develop creative and innovative self-portraits, using them to communicate to the world about themselves. The most prominent among them are the self images of Italian Renaissance artist Sofonisba Anguissola, who left behind a wide collection of such works of art.
Secondary keywords:	art;umetnost;
File type:	application/pdf
Type (COBISS):	Bachelor thesis/paper
Thesis comment:	Univ. v Ljubljani, Pedagoška fak., Likovna pedagogika
Pages:	40 str.
ID:	10865629