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Journal articles on the topic 'Isabella d'Este'

Author: Grafiati

Published: 4 June 2021

Last updated: 11 March 2023

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1

Rohr, Zita Eva. "Isabella d'Este: Selected Letters transed. by Deanna Shemek." Parergon 34, no. 2 (2017): 252–53. http://dx.doi.org/10.1353/pgn.2017.0082.

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2

Shemek, Deanna. "Renaissance Princess / Digital New World: IDEA: Isabella d'Este Archive." Early Modern Women 11, no. 2 (2017): 115–25. http://dx.doi.org/10.1353/emw.2017.0007.

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3

Purcell, Mary. "St. Patrick's Purgatory: Francesco Chiericati's Letter to Isabella d'Este." Seanchas Ardmhacha: Journal of the Armagh Diocesan Historical Society 12, no. 2 (1987): 1. http://dx.doi.org/10.2307/29745258.

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4

BOUTIN, LISA. "Isabella d'Este and the Gender Neutrality of Renaissance Ceramics." Women's Studies 40, no. 1 (December 30, 2010): 23–47. http://dx.doi.org/10.1080/00497878.2011.527801.

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5

Chambers, D. S. "Isabella d'Este and the Travel Diary of Antonio de Beatis." Journal of the Warburg and Courtauld Institutes 64 (2001): 296. http://dx.doi.org/10.2307/751565.

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6

Passaro, Maria C. Pastore. "Book Review: Teatro dei Gonzaga al tempo di Isabella d'Este." Forum Italicum: A Journal of Italian Studies 33, no. 2 (September 1999): 580–81. http://dx.doi.org/10.1177/001458589903300221.

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7

Prizer, William F. "Una "Virtù Molto Conveniente A Madonne": Isabella D'este as a Musician." Journal of Musicology 17, no. 1 (January 1, 1999): 10–49. http://dx.doi.org/10.2307/764010.

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8

Prizer, William F. "Una "Virtu Molto Conveniente A Madonne": Isabella D'este as a Musician." Journal of Musicology 17, no. 1 (January 1999): 10–49. http://dx.doi.org/10.1525/jm.1999.17.1.03a00020.

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9

Cockram, Sarah. "Epistolary Masks: Self-Presentation and Dissimulation in the Letters of Isabella d'Este." Italian Studies 64, no. 1 (March 2009): 20–37. http://dx.doi.org/10.1179/174861809x405773.

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10

JUAN, R. M. S. "The Court Lady's Dilemma: Isabella d'Este and Art Collecting in the Renaissance." Oxford Art Journal 14, no. 1 (January 1, 1991): 67–78. http://dx.doi.org/10.1093/oxartj/14.1.67.

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11

Prizer, William F. "Isabella d'Este and Lucrezia Borgia as Patrons of Music: The Frottola at Mantua and Ferrara." Journal of the American Musicological Society 38, no. 1 (1985): 1–33. http://dx.doi.org/10.2307/831548.

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Prizer, William F. "Isabella d'Este and Lucrezia Borgia as Patrons of Music: The Frottola at Mantua and Ferrara." Journal of the American Musicological Society 38, no. 1 (April 1985): 1–33. http://dx.doi.org/10.1525/jams.1985.38.1.03a00010.

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13

Brown, Clifford M. "“Concludo che non vidi max la più bella casa in Italia”: The Frescoed Decorations in Francesco II Gonzaga's Suburban Villa in the Mantuan Countryside at Gonzaga (1491-1496)*." Renaissance Quarterly 49, no. 2 (1996): 268–302. http://dx.doi.org/10.2307/2863159.

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“Universae Italiae Liberatori.” On the 500th Anniversary of the Battle of Fornovo and the completion of the Madonna della Vittoria (1495/96 - 1995/96).Scholarly discussion of late Quattrocento art patronage in Mantua has largely been confined to projects associated with Isabella d'Este (1474-1539, marchesa from 1490 and dowager marchesa from 1519). And yet in 1494 her husband wrote that “painting delights us not a little and by its pleasures we often relax and console our mind from the various occupations, anxieties, and cares in which it is involved.” Francesco II Gonzaga's effulgent praise of the visual arts suggests that he (1466-1519, marquis from 1484) was rather more consequential for the cultural life of the state than has usually been allowed.

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14

Gonçalves, Patrícia Alexandra, Andreza De Araújo Mello, Bruna Oliveira, Deisielly Guedes, Marseille Lopes Costa, and Pedro Henrique Neves. "Representação e transgressão: percursos femininos em uma Itália que se reinventava." Revista Italiano UERJ 12, no. 2 (July 13, 2022): 15. http://dx.doi.org/10.12957/italianouerj.2021.69138.

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RESUMO: O presente artigo tem por objetivo apresentar uma faceta do Renascimento italiano pouco reconhecida pelo cânone: a atuação de mulheres na vida artístico-cultural italiana. Escolhemos para nosso corpus uma patrocinadora das artes, Isabella D’Este, três poetisas, Vittoria Colonna, Veronica Franco e Gaspara Stampa, para, através de seus percursos podermos refletir sobre a posição feminina de então e sobre a nossa própria realidade: nenhum direito é imutável, é necessário que todos estejamos sempre atentos a possíveis restrições. O acesso à educação para mulheres sempre foi mais restrito, pois seu papel na sociedade, embora muito necessário ao desenvolvimento coletivo, sempre foi apontado como algo menor. Por causa disso, sua participação na vida cultural costumava se restringir à posição de público ouvinte, raramente sendo alçada à posição de produtora de arte. Nas próximas páginas, esboçaremos um retrato de cinco mulheres que ultrapassaram os limites a ela impostos e por via dessas transgressões conquistaram um espaço na História.Palavras-chave: Mulheres. Patriarcado. Renascimento. Poesia. Cartas. ABSTRACT: Questo articolo mira a presentare una faccia del Rinascimento italiano poco riconosciuto dal canone: la partecipazione delle donne nella vita artistica e culturale italiana. Abbiamo scelto per il nostro corpus una mecenate delle arti, Isabella D'Este, tre poetesse, Vittoria Colonna, Veronica Franco e Gaspara Stampa, in modo che attraverso il loro percorso possiamo riflettere sulla posizione femminile di quel tempo e sulla nostra realtà: nessun diritto può essere visto come qualcosa che sarà sempre lì e perciò dobbiamo essere sempre attenti. L'accesso all'istruzione per le donne è sempre stato più limitato, perché il loro ruolo nella società, pur essendo molto necessario per lo sviluppo collettivo, è sempre stato indicato come qualcosa di più piccolo. Per questo motivo, la loro partecipazione alla vita culturale era limitata alla posizione del pubblico ascoltatore, raramente cresciuta alla posizione di produttore d'arte. Nelle prossime pagine, disegneremo un ritratto di cinque donne che superarono i limiti loro imposti e attraverso queste trasgressioni conquistarono uno spazio nella storia.Parole chiave: Donne. Patriarcato. Rinascimento. Poesia. Lettere. ABSTRACT: This paper aims to present a facet of the Italian Renaissance little recognized by the canon: the role of women in Italian artistic-cultural life. We chose for our corpus a patron of the arts, Isabella D'Este, three poets, Vittoria Colonna, Veronica Franco and Gaspara Stampa, so that, through their paths, we can reflect on the feminine position at that time and about our own reality: no right is immutable, it is necessary that we are always aware of possible restrictions. The access to education for women has always been more restricted, because their role in society, although very necessary for collective development, has never been highlighted. For this reason, their participation in cultural life used to be restricted to the position of listening audience, rarely being raised to the position of art producer. In the following pages, we will sketch a portrait of five women who have exceeded the limits imposed on them and through these transgressions have conquered a place in History.Keywords: Women. Patriarchy. Renaissance. Poetry. Letters

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15

JAMES, CAROLYN. "Sarah D. P. Cockram, Isabella d'Este and Francesco Gonzaga: Power Sharing at the Italian Renaissance Court (Farnham: Ashgate, 2013), pp. XVI + 256. ISBN 978 1409448310." Gender & History 27, no. 1 (March 14, 2015): 213–14. http://dx.doi.org/10.1111/1468-0424.12110.

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16

Bortoletti, Francesca. "A Renaissance Marriage: The Political and Personal Alliance of Isabella d'Este and Francesco Gonzaga, 1490–1519. Carolyn James. Oxford: Oxford University Press, 2020. xvi + 204 pp. $80." Renaissance Quarterly 75, no. 3 (2022): 1030–31. http://dx.doi.org/10.1017/rqx.2022.255.

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17

Jardine, Lisa. "‘O decus Italiae virgo’, or The Myth of the Learned Lady in the Renaissance." Historical Journal 28, no. 4 (December 1985): 799–819. http://dx.doi.org/10.1017/s0018246x00005070.

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Let me start by making it clear that, taken at face value, my title is entirely a piece of mischief: I am not about to disclose the fact that there were actually no learned women in Italy in the fifteenth century. Indeed, this paper is built around the careers and works of five distinguished women intellectuals of that period: Isotta Nogarola (1418–66); Costanza Varano (1426–77); Cassandra Fedele (c. 1465–1558); Laura Cereta (1469–99); and Alessandra Scala (1475–1506). There is, however, a serious point to my choice of words in the title. The point is that the ‘learned lady’ of the Renaissance (the cultivated noblewoman, beautiful, charming, gifted, ‘gentile’) has a mythic place in the secondary historical literature on humanism. From Isabella d'Este to Sir Thomas More's daughters and the English Tudor princesses, the cultivated gentlewoman is the Beatrice or the Laura of some male humanist's circle, his hi adoring pupil, his inspiration, his idol. Scholars adopt a fondly indulgent tone when discussing the women, which carries the implication that their intellectual calibre, their actual standing as scholars and humanists, is not a real issue, is perhaps not in fact of any real substance (a figment, rather, of their male admirers' or suitors' imaginations). The single scholarly piece of any significance on the life and work of Alessandra Scala concludes with typical sentimental indulgence:Her noble and elusive aspect – for no portrait of her survives, unless perhaps she smiles at us, unrecognised, in the guise of a saint or a goddess, from one of Botticelli's canvases, or that of some other Florentine artist – yet that aspect shines forth from the shadows of the past, and casts a beauteous and gracious light upon the discordant chorus of Florentine humanism at the end of the fifteenth century.

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18

Watanabe-O'Kelly, Helen. "Sarah D. P. Cockram, Isabella d'Este and Francesco Gonzaga: Power Sharing at the Italian Renaissance Court. Farnham and Burlington, VT: Ashgate, 2013. xvi + 256 pp. 13 b & w illus. £70.00. ISBN 978-1409048311 (hb).Anne J.Cruz and Maria GalliStampino (eds." Renaissance Studies 29, no. 3 (August 1, 2014): 468–71. http://dx.doi.org/10.1111/rest.12091.

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19

Verheyen, Egon. "Clifford M. Brown, with the collaboration of Anna Maria Lorenzoni. Isabella d'Este and Lorenzo da Pavia: Documents for the History of Art and Culture in Renaissance Mantua. (Travaux d'Humanisme et Renaissance, 189.) Geneva: Librairie Droz, 1982. 4 pls. + 249 pp. SF.70." Renaissance Quarterly 38, no. 1 (1985): 132–36. http://dx.doi.org/10.2307/2861343.

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20

"Isabella and Leonardo: the artistic relationship between Isabella d'Este and Leonardo da Vinci, 1500-1506." Choice Reviews Online 50, no. 06 (February 1, 2013): 50–3073. http://dx.doi.org/10.5860/choice.50-3073.

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21

James, Carolyn. "Political Image Making in Portraits of Isabella d'Este, Marchioness of Mantua." Gender & History, October 22, 2021. http://dx.doi.org/10.1111/1468-0424.12582.

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22

"Isabella d'Este and Francesco Gonzaga: power sharing at the Italian Renaissance court." Choice Reviews Online 51, no. 08 (March 20, 2014): 51–4665. http://dx.doi.org/10.5860/choice.51-4665.

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23

"The cabinet of Eros: Renaissance mythological painting and the studiolo of Isabella d'Este." Choice Reviews Online 44, no. 02 (October 1, 2006): 44–0742. http://dx.doi.org/10.5860/choice.44-0742.

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24

"En mémoire d'elle et en mémoire du sang: la Vita Christi de Sor Isabel de Villena, abbesse des clarisses de Valence au XVe siècle." Le Journal de la Renaissance 1 (January 2000): 103–20. http://dx.doi.org/10.1484/j.jr.2.301879.

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