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Sofonisba Anguissola - Self portrait
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Annibale Carracci - Bean eaters
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Giovanni Francesco Barbieri, detto Guercino - Moses with the tablets of the law
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Agnolo di Cosimo, detto il Bronzino - Venus, Cupid and Satyr
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Jan Brueghel il Vecchio - The Concerto of Orpheus in the Underworld for Pluto and Proserpina
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Jacopo Robusti, detto Tintoretto - Narcissus at the source
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Jacopo Robusti, detto Tintoretto - Portrait of Onofrio Panvinio
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Cosmè Tura - San Maurelio and San Paolo with cardinal Bartolomeo roverella
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View on Piazza Navona
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Paolo Caliari, detto il Veronese - Portrait of a gentleman
Sofonisba Anguissola - Self portrait
Annibale Carracci - Bean eaters
Giovanni Francesco Barbieri, detto Guercino - Moses with the tablets of the law
Agnolo di Cosimo, detto il Bronzino - Venus, Cupid and Satyr
Jan Brueghel il Vecchio - The Concerto of Orpheus in the Underworld for Pluto and Proserpina
Jacopo Robusti, detto Tintoretto - Narcissus at the source
Jacopo Robusti, detto Tintoretto - Portrait of Onofrio Panvinio
Cosmè Tura - San Maurelio and San Paolo with cardinal Bartolomeo roverella
View on Piazza Navona
Paolo Caliari, detto il Veronese - Portrait of a gentleman

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Description

The valuable self-portrait is a very rare youthful effigy painted on paper by the young Cremonese artist, a year before her debut at the Spanish court of Philip II, as a companion of his third wife, the French Isabelle di Valois. At the time of its execution, the myth of the lady painter was already consolidated, despite the young age of the artist, as Giorgio Vasari attests in 1568: "We can therefore say with the divine Ariosto, & with truth that Women have come in excellence of each Art they have taken care of ". The painter demonstrates that she has assimilated the enameled classicism of her first master Bernardino Campi, whose portraits were praised for the agreement between live resemblance and a lot of grace, the inclination to sobriety, formal rigor, safe, soft modeling. and the technique of outlining the profile of the portrayed on a light background reveal the influence of Giovanni Battista Moroni from Bergamo. The work is documented in the Colonna collection since the ancient inventories of the early seventeenth century.

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