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Portrait of Giovanna Tornabuoni (Article in Progress)[edit]

The Portrait of Giovanna Tornabuoni (also known as Portrait of Giovanna degli Albizzi [1]) is a painting by the Italian Renaissance painter Domenico Ghirlandaio, executed in 1488 and located in the Museo Thyssen-Bornemisza, Madrid.

Description[edit][edit]

The painting portrays Giovanna degli Albizzi, a Florentine noblewoman who was married to Lorenzo Tornabuoni. She died in childbirth in 1488, the year specified on the cartellino [1](Italian for a slip of paper in the background). The painting was actually painted about two years after her death, around 1489-90, for the Tornabuoni family.[2] She has been identified thanks to her other portraits in the Tornabuoni Chapel, where she has the same hair style.

It depicts the young woman from the side in a linear, ornamental arrangement which was common for the time. [3] The figure is wearing precious clothes including a gamurra vest. On the right, behind her, are a hanging coral necklace (perhaps a rosary), a partly closed prayer book, and a Latin inscription, taken from an epigram by the 1st century AD poet Martial.

Symbolism[edit]

Many aspects of this portrait hold symbolic significance in emphasizing her wealth, status, and piety. Giovanna's fine clothing indicates her status and the wealth of her family. The Tornabuoni emblem is present on her clothes, as well as two "Ls" on her shoulder, referring to her husband, Lorenzo. These emblems denote Giovanna's family and illustrate where the visible wealth comes from.[3] In addition to the clothes, the presence of pearls and brooches also emphasizes the family's wealth. [3]

Another symbol within the portrait is the string of coral beads. The coral beads seen in the background are likely a rosary, signifying Giovanna's religious piety. During the Renaissance, coral also had many connotations. It was believed to ward against evil, aid in fertility, and was associated with the blood of Christ. [4]

The book seen behind Giovanna, possibly a prayer book, also refers to her piety and educated status.[4]

A significant aspect of the background in this portrait is the cartellino behind Giovanna. The inscription is a modified excerpt of a poem by the author Martial.[1] The epigram reads: "ARS VTINAM MORES ANIMVM QVU EFFINGERE POSSES PVCHRIOR IN TERRIS NVLLA TABELLA FORET MCCCCLXXXVIII". This translates to "Art, would that you could represent character and mind! There would be no more beautiful painting on earth 1488".[1] This epigram refers to both the virtue of the sitter whom it is positioned behind[1] and the skill of the painter.[5]

Analysis[edit]

The painting has been extensively studied. It has been x-rayed as well as analyzed with ultra-violet, infra-red, and cross-section techniques.[2] Through these analyses it was found that the painting was created with a brush underdrawing. There are several differences between the underdrawing and the final painting, including the positioning of the hands and the included accessories. The hands were initially held higher, but were lowered in the finished piece into a less assertive position. The necklace Giovanna is wearing in the final portrait was originally a string of beads and the other accessories in the background were not present in the underdrawing.[2]

Original Location[edit]

The portrait was originally placed in the camera del palcho d'oro (Italian for the chamber with the golden beams) in Lorenzo Tornabuoni's suite in the Tornabuoni palace. The presence of the portrait in a public space of the palace commemorated Giovanna's death. During this time, portraits of deceased individuals served to record lineage, exemplify important figures, and commemorate loved ones. This portrait likely presented Giovanna as an exemplary figure in the Tornabuoni palace.[6]

Sources[edit][edit]

  1. ^ a b c d e Marchand, Eckart. “His Masters Voice: Painted Inscriptions in the Works of Domenico Ghirlandaio.” Artibus Et Historiae, vol. 33, no. 66, 2012, pp. 99–120. JSTOR, www.jstor.org/stable/23509746.
  2. ^ a b c WRIGHT, ALISON. “Ghirlandaio and the Florentine Renaissance: Madrid.” The Burlington Magazine, vol. 152, no. 1291, 2010, pp. 699–700. JSTOR, www.jstor.org/stable/25769824.
  3. ^ a b c Rodini, Elizabeth. “The Language of Stones.” Art Institute of Chicago Museum Studies, vol. 25, no. 2, 2000, pp. 17–104. JSTOR, www.jstor.org/stable/4113058.
  4. ^ a b Gibson, Clare. “Subtle Symbolism.” Selvedge, no. 86, Jan. 2019, pp. 49–53. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=aft&AN=133537045&site=ehost-live&scope=site.
  5. ^ Zöllner, Frank. “The ‘Motions of the Mind’ in Renaissance Portraits: The Spiritual Dimension of Portraiture.” Zeitschrift Für Kunstgeschichte, vol. 68, no. 1, 2005, pp. 23–40. JSTOR, www.jstor.org/stable/20474276.
  6. ^ DePrano, Maria. “AT HOME WITH THE DEAD: THE POSTHUMOUS REMEMBRANCE OF WOMEN IN THE DOMESTIC INTERIOR IN RENAISSANCE FLORENCE.” Source: Notes in the History of Art, vol. 29, no. 4, 2010, pp. 21–28. JSTOR, www.jstor.org/stable/23208975.

External links[edit][edit]

  • Portrait of Giovanna Tornabuoni - Domenico Ghirlandaio | Museo Thyssen
  • Page on the portrait.


Sources for Portrait of Giovanna Tornabuoni/ notes[edit]

Look up Pat Simon article


Subtle Symbolism by Clare Gibson on Art Full-Text

Gibson, Clare. “Subtle Symbolism.” Selvedge, no. 86, Jan. 2019, pp. 49–53. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=aft&AN=133537045&site=ehost-live&scope=site.

  • The coral beads present in the background are likely a rosary, signifying Giovanna's religious piety.
  • During the Renaissance, coral had many connotations. It was believed to ward against evil, aid in fertility, and was associated with the blood of Christ.
  • The book seen behind Giovanna also refers to her educated status.

At Home with the Dead: The Posthumous Remembrance of Women in the Domestic Interior in Renaissance Florence. by Maria DePrano on JSTOR

DePrano, Maria. “AT HOME WITH THE DEAD: THE POSTHUMOUS REMEMBRANCE OF WOMEN IN THE DOMESTIC INTERIOR IN RENAISSANCE FLORENCE.” Source: Notes in the History of Art, vol. 29, no. 4, 2010, pp. 21–28. JSTOR, www.jstor.org/stable/23208975.

  • The portrait was originally placed in the camera del palcho d'oro in Lorenzo Tornabuoni's suite in the Tornabuoni palace.
  • The presence of the portrait in a public space of the palace commemorated Giovanna's death.
  • Portraits of deceased individuals served to record lineage, exemplify important figures, and commemorate loved ones.
  • This portrait likely presented Giovanna as an exemplar in the Tornabuoni palace.

Ghirlandaio and the Florentine Renaissance: Madrid by ALISON WRIGHT on JSTOR

WRIGHT, ALISON. “Ghirlandaio and the Florentine Renaissance: Madrid.” The Burlington Magazine, vol. 152, no. 1291, 2010, pp. 699–700. JSTOR, www.jstor.org/stable/25769824.

  • The painting has been extensively studied. It has been x-rayed as well as analyzed with ultra-violet, infra-red, and cross-section techniques.
  • The painting was completed with a brush underdrawing. There are several differences between the underdrawing and the final painting, including the positioning of the hands and the included accessories. The hands were initially held higher, but were lowered in the finished piece into a less assertive position. The necklace Giovanna is wearing in the final portrait was originally a string of beads and the other accessories in the background were not present in the underdrawing.
  • The portrait was made two years after Giovanna's death for the Tornabuoni family.

The Language of Stones by Elizabeth Rodini on JSTOR

Rodini, Elizabeth. “The Language of Stones.” Art Institute of Chicago Museum Studies, vol. 25, no. 2, 2000, pp. 17–104. JSTOR, www.jstor.org/stable/4113058.

  • This portrait arranges the subject in a common manner for the time. The portrait focuses on the sitter's profile and places Giovanna in a linear, ornamental arrangement. The decorations on the figure are very significant to the portrait.
  • The accessories around and on the figure denote her wealth, status, and piety.
  • In particular, the fine clothes, pearls, and brooches illustrate the wealth of the woman's family.
  • The Tornabuoni emblem is present on Giovanna's clothes as well as two "Ls" on her shoulder, refering to her husband Lorenzo. These emblems denote Giovanna's family and illustrate where the visible wealth comes from.

His Masters Voice: Painted Inscriptions in the Works of Domenico Ghirlandaio by Eckart Marchand on JSTOR

Marchand, Eckart. “His Masters Voice: Painted Inscriptions in the Works of Domenico Ghirlandaio.” Artibus Et Historiae, vol. 33, no. 66, 2012, pp. 99–120. JSTOR, www.jstor.org/stable/23509746.

  • Refers to the portrait as Ghirlandaio's Portrait of Giovanna degli Albizzi.
  • The epigram is also known as a cartellino.
  • The epigram reads: "ARS VTINAM MORES ANIMVM QVU EFFINGERE POSSES PVCHRIOR IN TERRIS NVLLA TABELLA FORET MCCCCLXXXVIII". This translates to "Art, would that you could represent character and mind! There would be no more beautiful painting on earth 1488".
  • This inscription refers to the sitter whom it is positioned behind.
  • The inscription is a modified version of a poem by the author Martial.
  • It is positioned with other artifacts that represent the sitter.

The "Motions of the Mind" in Renaissance Portraits: The Spiritual Dimension of Portraiture by Frank Zöllner on JSTOR

Zöllner, Frank. “The ‘Motions of the Mind’ in Renaissance Portraits: The Spiritual Dimension of Portraiture.” Zeitschrift Für Kunstgeschichte, vol. 68, no. 1, 2005, pp. 23–40. JSTOR, www.jstor.org/stable/20474276.

  • States that the portrait was originally a wedding or betrothal portrait made in 1486. Then the addition of the carellino in 1488 made it into a posthumus portrait.
  • The epigram is used to emphasize Giovanna's virtue and it also alludes to the painter's skill.

St Jerome and the Lion[edit]

St Jerome and the Lion
ArtistRogier van der Weyden or studio
Yearc.1450
Mediumoil on oak panel
Dimensions30.8 cm × 25.2 cm (12 1/8 in × 9 15/16 in)
LocationDetroit Institute of Arts

St. Jerome and the Lion (also known as St. Jerome Extracting the Thorn[1] or Saint Jerome in the Desert) is a c.1450–1465 oil on oak panel painting by Rogier van der Weyden or his studio, showing Jerome and now in the Detroit Institute of Arts.

Sources[edit]

References[edit]


  1. ^ Ring, Grete. “St. Jerome Extracting the Thorn from the Lion's Foot.” The Art Bulletin, vol. 27, no. 3, 1945, pp. 188–194. JSTOR, www.jstor.org/stable/3047012.
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