Los Angeles Art Museum Acquires Virginia Vezzi Self-Portrait
LACMA Acquires Rare Self-Portrait by 17th-Century Artist Virginia Vezzi
Table of Contents
- LACMA Acquires Rare Self-Portrait by 17th-Century Artist Virginia Vezzi
- LACMA Acquires Rare Self-Portrait by Virginia Vezzi: A Q&A
- Who was Virginia Vezzi?
- Why is Virginia Vezzi suddenly gaining renewed recognition?
- Were was Virginia Vezzi born and how did she start her artistic journey?
- What are some key milestones in Virginia Vezzi’s career?
- What is the newly acquired painting by LACMA?
- How was the “Self-Portrait as Saint Catherine of Alexandria” authenticated?
- What are the key characteristics of the “Self-Portrait as Saint Catherine of Alexandria?”
- What is the significance of the painting’s resemblance to Claude Mellan’s engraving of Vezzi?
- how does the acquisition of this self-portrait boost LACMA’s collection?
- Where can I read more about Virginia Vezzi?
- In a nutshell, what is so special about Virginia Vezzi’s art?
LOS ANGELES (AP) — The Los Angeles County Museum of Art (LACMA) has announced the acquisition of a rare self-portrait by Virginia Vezzi, a 17th-century artist whose work is gaining renewed recognition. The painting, titled ”Self-Portrait as Saint Catherine of alexandria,” adds a notable piece to LACMA’s collection.
Rediscovering Virginia Vezzi
virginia vezzi (1600-1638), also known as Virginia Da Vezzo, was a talented painter active in Rome and Paris. Despite her success during her lifetime, her work was largely overlooked by art historians for centuries. Recent scholarship has shed light on her life and artistic achievements, bringing her work to a wider audience. in 2021, one of her paintings was featured in the exhibition “the Ladies of Art” in Milan.
Born in Velletri, near Rome, Vezzi received her initial training from her father, Pompeo Vezzi, also a painter.In 1611, her family moved to Rome, where she joined the workshop of French painter Simon Vouet. By 1624, she had been admitted to the Accademia di San Luca in Rome, an honor few women artists received at the time. Vezzi and Vouet later married and moved to Paris in the late 1620s, after Vouet was appointed court painter to King Louis XIII. Vezzi continued to paint and teach,but little documentation of her activities during this period exists.She died in 1638 at the age of 38.
“Self-Portrait as Saint Catherine of Alexandria”
The newly acquired painting, “Self-portrait as Saint catherine of Alexandria,” was authenticated by scholar Consuelo Lollobrigida, who considers it Vezzi’s “Roman masterpiece.” Lollobrigida dates the painting to 1624-1626, a period when Vezzi was influenced by the dramatic compositions and intense light effects of Caravaggio. While initially inspired by Caravaggio, Vezzi gradually developed her own distinct style.
The painting depicts Saint Catherine with her conventional attributes: a crown, a martyr’s palm, and a broken wheel. The saint, depicted from the waist up, is seated in a dark space, which emphasizes her figure. An intense light illuminates her skin, golden dress, and jewelry.
The subject’s features, especially the nose, lips, and pearl earrings, bear a striking resemblance to an engraving of Vezzi by Claude Mellan. This suggests that the painting is indeed a self-portrait, aligning with a tradition of female artists portraying themselves as powerful women from mythology and the Bible. Artemisia Gentileschi, a contemporary of Vezzi in rome, also employed this technique.
LACMA’s Collection
The “Self-Portrait as Saint Catherine of Alexandria” will be featured in a forthcoming monograph on Vezzi, written by Consuelo Lollobrigida. The acquisition is particularly significant for LACMA, as the museum also owns a painting by Simon Vouet depicting Vezzi as Marie-Madeleine, painted around 1627. With this acquisition,LACMA now houses representations of the artistic couple.
LACMA Acquires Rare Self-Portrait by Virginia Vezzi: A Q&A
The Los Angeles County Museum of Art (LACMA) has made a notable acquisition, bringing renewed attention to the work of 17th-century artist Virginia Vezzi.This Q&A delves into the life, art, and impact of vezzi, focusing on the newly acquired ”Self-Portrait as Saint Catherine of Alexandria” and it’s place in LACMA’s collection.
Who was Virginia Vezzi?
Virginia Vezzi (1600-1638), also known as Virginia Da Vezzo, was a talented painter who was active in Rome and Paris during the 17th century. Despite her artistry and success during her lifetime, her work was largely overlooked by art historians for centuries.
Why is Virginia Vezzi suddenly gaining renewed recognition?
recent scholarship has begun to shed light on Vezzi’s life and her artistic achievements, leading to a wider audience. Moreover, one of her paintings was featured in the 2021 exhibition “The Ladies of Art” in Milan, which brought more attention to her art.
Were was Virginia Vezzi born and how did she start her artistic journey?
Vezzi was born in Velletri, near Rome.Her initial training came from her father, Pompeo Vezzi, who was also a painter. She later moved to Rome with her family in 1611, where she joined the workshop of the French painter Simon Vouet.
What are some key milestones in Virginia Vezzi’s career?
here’s a brief timeline of her notable achievements:
- 1600: Born in Velletri, near Rome
- 1611: Moved to Rome and joined Simon Vouet’s workshop
- 1624: Admitted to the Accademia di San Luca in Rome
- Late 1620s: Married Simon Vouet and moved to Paris
- 1638: Died at the age of 38.
What is the newly acquired painting by LACMA?
LACMA has acquired the “Self-Portrait as Saint Catherine of Alexandria.”
How was the “Self-Portrait as Saint Catherine of Alexandria” authenticated?
The painting was authenticated by scholar Consuelo Lollobrigida, who considers it Vezzi’s “Roman masterpiece.” Lollobrigida dates the painting to 1624-1626, a crucial period when Vezzi was influenced by Caravaggio’s dramatic style. Furthermore, the painting’s features align with an engraving attributed to Claude Mellan.
What are the key characteristics of the “Self-Portrait as Saint Catherine of Alexandria?”
The painting depicts Saint Catherine with her conventional attributes, including a crown, a martyr’s palm, and a broken wheel. The saint is depicted from the waist up and seated in a dark space,which emphasizes her figure. An intense light illuminates her skin, a golden dress, and jewelry.
What is the significance of the painting’s resemblance to Claude Mellan’s engraving of Vezzi?
The striking similarities, especially in the features of the nose, lips, and pearl earrings, strongly suggest that the painting is indeed a self-portrait by Vezzi. This self-depiction aligns with a tradition of female artists portraying themselves as powerful women from mythology and the Bible; Artemisia Gentileschi also utilized this technique.
how does the acquisition of this self-portrait boost LACMA’s collection?
The acquisition is especially significant for LACMA, which holds another painting by Simon Vouet depicting Vezzi as Marie-Madeleine painted around 1627. With the addition of the self-portrait, LACMA now has paintings representing the artistic couple of Simon Vouet and Virginia Vezzi.
Where can I read more about Virginia Vezzi?
The “Self-Portrait as Saint Catherine of Alexandria” will be featured in an upcoming monograph on Vezzi written by Consuelo Lollobrigida.
In a nutshell, what is so special about Virginia Vezzi’s art?
Virginia Vezzi’s art captures the drama and depth of the Baroque era while showcasing a developing unique style.Her self-portrait, a powerful representation of herself and of Saint Catherine, demonstrates the tradition of women artists portraying themselves in powerful roles and helps to reveal hidden voices of the past.