More about Portrait of Paolo Morigia

Contributor

The most amazing fact about Galizia's Portrait of Paolo Morigia is that she began work on the masterpiece at the age of fourteen.

Paul Klee, Georgia O'Keeffe, and Albrecht Dürer also completed great pieces around the same age, but these early artworks are not usually considered by writers to be a major part of their overall life's work. By contrast, the Portrait of Paolo Morigia is as essential to studying Galizia as an insurance policy is to a missile manufacturer. As a fourteen-year-old, living over four hundred years ago, she was already a master of oil painting, and speaking in a singular and profound voice. Certainly Milan in those days was a brutally repressive place for women. So, it is remarkable that Galizia was able to establish an art practice which left an impression for centuries afterward. 

The sitter, Paolo Morigia, was a Jesuit historian - a fact Galizia makes reference to by surrounding her subject by very important leather-bound books, and placing in his hand a pair of reading glasses. Morigia loved the painting, remarking on its likeness: "It bears such a resemblance to nature that for more one could not ask." You can find Morigia gushing with praise for the teenage artist in the first volume of his book La nobilta di milano. If you can read Italian, you can find the entire passage for free on the internet, and it is worth seeing how Morigia draws upon every rhetorical special effect to convince you that Galizia is the real McCoy. "One must give great praise to this most gentle and virtuous little girl," Morigia writes, who has "poured" herself into painting, already producing many "beautiful and accurate drawings in this delicate stage of her youth." Calling her portraits so rare as to be "miraculous," Morigia also highlights two other Galizia portraits,  those of Donna Maria Giron de Velasco, Duchess of Frias, and Mrs. Camilla Ferraro.

It seems Galizia was also pleased with her portrait of Morigia. Afterall, she worked on it for four years. When signing the portrait at its completion the artist pointed out another of her virtues by adding: "virgo pudiciss" or "most humble virgin." To really hammer the point home she even used an alternate spelling of her first name: Fides, meaning faith or fidelity.

 

 

Sources

Featured Content

Here is what Wikipedia says about Portrait of Paolo Morigia


Portrait of Paolo Morigia (1592-1595) by Fede Galizia

Portrait of Paolo Morigia is a 1592–1595 oil on canvas painting by Fede Galizia, painted for the church of San Gerolamo in Milan and donated in 1670 to the Pinacoteca Ambrosiana in the same city, where it still hangs.

Fogolari described and dated the work based on the inscription at the top, which reads "FIDES GALICIA VIRGO PUDICISS. AETAT SUAE ANN. XVIII OPUS HOC F. PAULI MORIGII SIMULACRUM ANN. 72 GRATI ANIMI ERGO EFFINXIT. ANNO 1596". Later archival research by Berra showed that the inscription was spurious, however.


Detail of the spectacles

Its subject is the historian and Jesuit Paolo Morigia, holding spectacles in his left hand and writing the lyrics of a madrigal with his right. The reflection of the windows in the spectacle lenses shows the influence of contemporary Flemish art, whilst the great expressivity of the lips draws on Giovanni Battista Moroni's realism and the physiognomical studies then particularly popular in Lombardy thanks to Leonardo da Vinci.

The madrigal lyrics were published by Sutherland Harris and reading "Fu già GALITIA FEDE / Che per tenermi dopo morto in vita / Qui spirante, e qui vivo a te m'addita.". They are autobiographical and translate as "I once was GALIZIA FEDE / Who wanted to keep me alive after my death / Here expiring, and here alive, it points me to you." To the right is her book Historia dell'antichità di Milano, published in Venice in 1592. In his following book, the 1595 La nobiltà di Milano, Morigia praised a portrait of him by Fede Galizia. This allows the work to be securely dated between 1592 and 1595.

Check out the full Wikipedia article about Portrait of Paolo Morigia