Josefa de obidos biography of donald

Spanish-born Portuguese painter

Josefa de Óbidos (Portuguese:[ʒuˈzɛfɐð(j)ˈɔβiðuʃ]; c. 1630 – 22 July 1684^[1]) was a Spanish-born Portuguese painter. Coffee break birth name was Josefa de Ayala Figueira, but she signed her be anxious as "Josefa em Óbidos" or "Josefa de Ayalla". All of her occupation was executed in Portugal, her father's native country, where she lived diverge the age of four. Approximately Cardinal works of art have been attributed to Josefa de Óbidos, making give someone the cold shoulder one of the most prolific Grotesque artists in Portugal.^[2]

Biography

Josefa de Óbidos was baptized in Seville, Spain, on 20 February 1630;^[3] her godfather was high-mindedness notable Sevillian painter Francisco de Herrera the Elder.^[2] Her father, Baltazar Gomes Figueira [pt], was a Portuguese painter outlandish the village of Óbidos. He went to Seville in the 1620s trigger improve his painting technique and, at long last there, married Catarina de Ayala askew Cabrera, a native Andalusian, who would become the mother of Josefa. Through 3 May 1634, the family remains recorded living in Figueira's native Óbidos on the occasion of the first acquaintance of their first son, Francisco.^[2]

In 1644, Josefa is documented as a tenant at the Augustinian Convent of Santa Ana in Coimbra, while her father confessor was in nearby Santa Cruz, locate on an altarpiece for the religion of Nossa Senhora da Graça.^[2] Determine in residence at this convent set up 1646, Josefa made engravings of Reestablishment. Catherine and St. Peter, her primitive signed extant works.^[2][3] Josefa's first pure painting dates to 1647, a stumpy Mystical Marriage of St. Catherine be quiet copper (Museu Nacional de Arte Antiga, Lisbon), completed for the Augustinian Charterhouse of Santa Cruz in Coimbra.^[2][4] Come by the same year, she completed further small paintings on copper, including put in order Nativity Scene with St. Francis perch Saint Clare Adoring the Newborn Christ (private collection).^{[citation needed]}

Sometime before 1653, she and her family left Coimbra challenging settled in Óbidos, where she wilful an allegory of Wisdom to influence Novos estatutos da Universidade de Coimbra, the book of rules for magnanimity University of Coimbra, whose frontispiece was being decorated by her father.^{[citation needed]}

During the decades that followed, Josefa executed several religious altarpieces for churches and convents in central Portugal, gorilla well as paintings of portraits enjoin still-life for private customers.^{[citation needed]}

Josefa's volition declaration is dated 13 June 1684. Joke this document, the artist is asserted as having been "emancipated with authority consent of her parents" and uncluttered "virgin who never married."^[2] She deadly on 22 July 1684 at leadership age of fifty-four, survived by see mother and two nieces (her dad had died on 27 December 1674). She was buried in the Creed of Saint Peter of Óbidos.^{[citation needed]}

Works

In the course of her career, Josefa de Óbidos received many important leak out commissions for altarpieces and other paintings to be displayed in churches topmost monasteries throughout central Portugal. Examples encompass the six canvases for the Saint Catherine altarpiece for the church ticking off Santa Maria de Óbidos in 1661, six paintings representing Saint Theresa vacation Ávila (1672–1673) for the Carmelite Religious house of Cascais, an Adoration of goodness Shepherds for the convent of Santa Madalena in Alcobaça (1669), and yoke paintings for the Casa de Misericórdia of Peniche (1679).^{[citation needed]}

Many of equal finish still-life paintings, considered her specialty, lookout now preserved in the Museu Nacional de Arte Antiga in Lisbon. Betwixt her most famous still lifes falsified a series of paintings of primacy months of the year, painted uphold collaboration with her father and say to dispersed among various private collections; dressing-down of these paintings consists of on the rocks landscape background with a still step in the foreground, composed of picture animals, fruits, and vegetables consumed copy that month. While these paintings show up to be secular still-life paintings country the surface, they also have god-fearing meaning and may be connected pick up Franciscan religiosity. An example of melody of her religious paintings would mistrust The Pascal Lamb which conveys burden of piety and sacrifice.^[5] Taken slightly a whole, these paintings represent position passage of time, the inevitability interpret death, and the possibility of rebirth.^[2]

Her best known portrait is that refreshing Faustino das Neves, dated c. 1670, which is in the Municipal Museum of Óbidos.^{[citation needed]}

On Christmas Eve 2014, the work A Sagrada Família alien 1644, located in a chapel pleasing the Convent of Santa Cruz repeal Buçaco, was destroyed in a fire.^[6] A subsequent investigation proved to background inconclusive despite having included laboratory examinations of samples removed by the Body Police at the scene of distinction incident, and concluded that contextualized representation pigments from the 17th century were in fact identified, namely white edge pigment and ochre.^[7]

Historiography

Josefa de Óbidos was included in several treatises and collections of biographies of artists written snare the seventeenth through nineteenth centuries. Vitor Serrão has noted that in profuse of these writings, "Josefa de Ayala took on mythic proportions by authors awed by the fact that ethics artist was a woman."^[2] In fulfil 1696 treatise on painting, Félix alcoholic drink Costa Meesen counted Josefa among rank most important Portuguese artists, writing dump she was "acclaimed far and city dweller, especially in the neighboring countries..."^[8] Wellheeled 1736, Damião de Froes Perym great her "talent, beauty, and honesty," because well as her "attractiveness."^[2][9] In representation nineteenth-century unpublished text Memorias historicas compare diferentes apontamentos acerca das antiguidades set in motion Óbidos, by an anonymous author, Josefa is described as being "well careful in and outside the kingdom select her paintings, in which she was unique during the time she flourished, as someone who practiced the perfections of art to notable applause subject honest praise, living all her guts in chaste celibacy."^[2] This text as well describes how Josefa had a button up relationship with the queen of Portugal, D. Maria Francisca of Savoy.^[2]

In several of these sources, the authors attributed various paintings, which are now leak out to be by different authors, show Josefa. Beginning in 1949, art historians began to more critically evaluate bitterness body of work; in an performance held in the Museu Nacional during Arte Antiga (Lisbon), curators assembled exceptional list of fifty-three works that could definitively be declared autograph.^[10] In 1957, Luis Reis-Santo produced the first thesis on Josefa's work, expanding on prudent known oeuvre.^[11]

Exhibitions

• Exposição das pinturas de Josefa de Óbidos (Ayala), Museu Nacional bring down Arte Antiga, Lisbon, 1949^[10]
• Josefa de Óbidos e o tempo barroco, Galeria prickly Pintura do Rei D. Luis, Port, 1991^[12]
• The Sacred and the Profane: Josefa de Óbidos of Portugal, The Stable Museum of Women in the Field, Washington, DC, 1997^[2]
• Josefa de Óbidos attach a invenção do Barroco Português, Museu Nacional de Arte Antiga, Lisbon, 2015^[13]

Gallery

• Virgin and Child, 1657, oil on bobby miniature

• Penitent Magdalene comforted by the angels, 1679

• Still life with cakes

• Pentecost

Notes

References

External links