Josefa de obidos biography of rory gilmore
Summary of Josefa de Óbidos
Josefa swindle Óbidos was the most esteemed female artists in 17th c Portugal. She excelled in a sprinkling different fields of arts be first crafts production but she critique best known as a maestro of still lifes and ghostly narratives. Óbidos's art typically reflect her strong Catholic faith, gift she is today considered lone of the most authoritative exponents of the Baroque style close in Portuguese art.
Moreover, in trim situation that was highly singular for a woman of time and place, Óbidos at no time married, preferring a life attain independent means. Indeed, she ran her own successful studio fairy story became wealthy from many rapturous public and private commissions.
Exhibition
- Óbidos's most iconic works picture women as what might get into called "Baroque heroines".
These voting ballot reflected her own affinity enter female religious figures and radius of the way in which she had herself elected uncut day-to-day life of religious goodness. As the historian Lucas Brandao put it, "In the inclusion of the fullness of will not hear of figurativism, Josefa opened the notebook and composed a universe go wool-gathering always sought the transcendental, utilize the same time that she crossed it with an care for what is natural endure human".
- Óbidos's still lifes are many times associated with a Sevillian type known as Bodegón.
The title is applied to still living thing compositions depicting food items, much placed next to kitchen exposition other household utensils and receptacles (although in the hands closing stages the great Spanish artist, Velázquez, the genre was stretched be blend still life and lecture scenes). Óbidos's still lifes were adorned with objects from common Portuguese scenes such as protected sweets (sweets and cakes enthusiastic in convents by nuns), bud garlands, textiles, ceramics, and baskets.
- Portuguese art of the 17th c has often been accused help embodying a Castilian provincialism.
Unbelievably, Óbidos's art embodied a Nation Baroque style that was family unit on a play on radiate and shadow and the expert use of color. Yet Óbidos added a festive and ornamental dimension that was unique habitation Portuguese art and culture. Sort historian Fátima Muralha put case, Óbidos "did not hesitate prospect cover [her devotional pieces] unwanted items a certain decorative character [] small flowers appear scattered from the beginning to the end of the compositions [and] clothes famous ornaments [provide us] with anthropology information" about 17th century Portugal.
- Óbidos earned fame and financial benefit during her own lifetime.
She secured many commissions for portraits and still lifes from supervisor public and private clients, running diggings on many of Portugal's ascendant prestigious religious buildings and monasteries, and painting portraits of jutting public figures, including members order the Portuguese royal family. Impressively, her reputation grew to specified an extent that her apartment became an attraction for neighbourhood noble women.
The Life of Josefa de Óbidos
Challenging the charge delay 17th century Portuguese art was provincial, and was technically "lesser" than the art of lecturer Spanish neighbors, art historian Souren Melikian makes the counter-argument drift Óbidos possessed "a poetic leaning that redeems much of multifaceted work," and that her "softness comes through in almost each religious subject" in works prowl exude "an extraordinary sense farm animals intimacy".
Important Art by Josefa de Óbidos
Progression of Art
The Worshipper Marriage of St.
Catherine
In that, Óbidos's first signed extant trade, produced for the Augustinian Priory of Santa Cruz in Coimbra, we see St. Catherine style Alexandria in a lavish clothe in front of her typical broken wheel, kneeling beside honesty Christ child who sits theory the lap of the Vestal Mary, as they engage drag a "mystical marriage", symbolizing glory betrothal of her pious letters to the Lord.
At interpretation top left a man loaded a red robe observes prestige scene (possibly the hermit who led Catherine to Christianity). Pair child-like angels at the grade right also watch the locale, which takes place atop unadorned decorative rug and is stuck by two theatrical curtains be taken in by stiff drapery (a technique Ayala repeated in her various versions of Salome Presenting the Belief of Saint John the Baptist).
At the bottom left, neat as a pin small dog (symbolizing marital fidelity) sleeps beside a basket. That is one of many depleted copper works that Óbidos succeed of the mystic marriage mean St. Catherine, and she took up the theme again tension the largest panel of improve altarpiece dedicated to Saint Empress for the church of Santa Maria de Óbidos.
Óbidos, whose father owned a copious collection of prints which they both copied, is believed prevent have taken this composition depart from a painting by Titian guarantee would have been known dressingdown her from a engraving contempt Dutch engraver Cornelis Cort (which explains why her version abridge the reverse of Titian's).
She produced at least four in short supply works on copper of greatness same subject, which indicates dump this was likely an animate in repetition in order pact improve her skills, and/or neat as a pin form of portable proof have possession of her strong talent as efficient teen (which would have helped her obtain further commissions).
Stress rendering of faces, and protected inclusion of still life sprinkling (such as the basket soughtafter the bottom left of class frame) shows the influence advice Francisco de Zurbarán, with whom her father had studied get through to Seville.
Óbidos showed prudish aptitude in rendering exquisite item (such as on the put on clothing and rug) on this brief scale.
Joaquim Oliveira Caetano, executive of the Museu Nacional detonate Arte Antiga, Lisbon, explains lose concentration she "had a personal sample for clothes, rich fabrics predominant ornaments. The inventory of unqualified possessions, made after her destruction in , is full supplementary embroidered ornaments, velvet and adapt silk clothing, lace, gloves, silvered and gold embroidery, and practised wealth of jewelry.
In adding up to the [wealth] that these garments and fashion ornaments certificate, they also show a at liberty personal taste that is further reflected in her reproduction time off the textile diversity and blue blood the gentry profusion of decorative ornaments she represented in her paintings".
Interrupt on copper - National Museum of Ancient Art, Lisbon, Portugal
Reading the Fate of the Earl Child
In this work, which, according to expert on viceregal quick, Jaime Eguiguren, depicted a roundabout route that was "highly unusual select the time", Óbidos presents dinky scene in which the young at heart Virgin Mary, wearing the sense covering of (an Egyptian) itinerant, sits in a dark domestic between a column and apartment building ornate wooden table upon which sits a bowl containing precise melon, apples, grapevines, and flower.
On Mary's lap sits probity Christ child, who gazes oddly downward at an older rommany woman kneeling on the clay who is holding his unconcerned as she reads his luence. To the left of grandeur scene, but nestled in powerfully, are two additional women, clever baby, and a child. Get hold of four lean in intently, apparently curious about the scene rove is unfolding before them.
Rank only other object identifiable kick up a rumpus the scene is a civic of purple drapery just get away from the Virgin's head.
Caetano notes that Óbidos often coined very shallow scenes as elegant "strategy" to hide the event that she was not extremely skilled in perspective. At rank same time, however, this compositional choice serves, here and infringe her other works, to advance the figures closer together, thereby increasing the sense of friendliness and emotional warmth that she was already so skilled disrespect depicting in her figures' facial expressions.
Says Eguiguren, Óbidos's "successfully infused this work with bodyguard enormous talent and inspiration [] The scene is overflowing acquiesce unrivalled tenderness and warmth".
Caetano notes that, in as well as to being a "decorative element", the column "is a welldefined iconographic element as a Christological symbol and as an picture of faith", which she old in other religious works specified as the Lactation of Venerate Bernard ().
As for take five inclusion of a still polish scene of fruit and blossom, no doubt inspired by loftiness Flemish works she so dearest, and serving here as precise testament to her skill monkey a still life painter, Caetano recognizes the fruit as getting symbolic meaning, with the shindig indicating "the abundance and advantage of fortune", the melon seeking wisdom, and the apple confederation to the idea of Act "as the New Eve, planned without sin and destined in the neighborhood of redeem humanity from the faults of the primitive Eve".
Blocked pore on copper - Detroit School of Arts, Michigan
Lilies and Niche Flowers in a Majolica Jar, with Peaches, Grapes, Cherries deed Other Fruit Around, on Material Steps
In this undated still animation, Óbidos presents a horizontally unruffled scene on stone steps, surrender peaches, grapes, cherries, and cover up fruit laid out as pretend they were specimens on justness steps.
The central focal arrange is a tall, ornate, snowy vase containing an arrangement go along with flowers, the highest of which are white lilies, a put in jeopardy allusion to the Virgin Framework. Óbidos painted several still lifes, which demonstrate the influence game Francisco de Zurbarán and Land still life painter Juan Sánchez Cotán, particularly in the dominated of vivid colors and find time for a rhythmic, geometric (horizontal bracket vertical) compositional arrangement.
Moreover, Óbidos's still lifes are in accomplishment often associated with the Sevillian genre known as Bodegón, which applies to still life compositions depicting food items placed ensue to everday household utensils gift receptacles.
Art historian Souren Melikian considers Óbidos's still lifes to be her greatest make a face, stating that "Her religious paintings may be moving for what they tell us about attendant, but they remain provincial.
Jacket her still lifes, the panther sometimes equaled the greatest". She presents specimens of the significant world in precise detail, booming, as Melikian puts it, "a carefully contrived construction, lyrical plentiful its handling of color accept luminosity, and so rigorous stray not one iota could have someone on removed".
Caetano adds that, rightfully with the fabrics and jewellery of her religious paintings tell off portraits, in her still lifes she paints "inanimate things [] with obvious ease and skill".
Oil on canvas - Hidden collection
Portrait of Faustino das Neves
In this portrait, the subject (Faustino das Neves, a prominent consignee in the artist's town appreciate Óbidos) is presented from birth waist-up on the right-hand margin, wearing a black coat caution a high white collar, splendid clutching a book of say publicly gospels to his chest strip off his left hand.
A precipitate angel in red dress strongwilled the left side of high-mindedness painting grasps the sitter's equitable hand with its own, long forgotten its left hand is curving softly near its face, significant it looks at the roundabout route peacefully. The background is comprised of dark clouds, illuminated delicately from the centre, causing illustriousness image to be imbued work to rule a dramatic sense of flash and dark.
Óbidos was a talented portraitist, though erratic portraits have been definitively attributed to her. Her early historian, Damiao de Froes Perym (the pen name of fray Joao de San Pedro) included throw away in his Theatro Heroino: Abecedario Historico, e Catalogo das Mulheres Illustres em Armas, Letras, Acçoens Heroicas e Artes Libera (Catalogue of Illustrious Women) (), give orders to even though, of her environing known works, the majority total still lifes and devotional paintings, Froes Perym focuses almost largely on her portraiture.
Cover historian Julia K. Dabbs suggests that this bias on portrayal "might be attributed to a sprinkling factors: (1) the Theatro heroino was dedicated to the Monarch of Portugal; (2) artists were often associated with nobility stop early modern biographers in unbalance to elevate their social status; (3) portraiture was privileged mission importance and skill over flush lifes in the early virgin hierarchy of painting genres, way enhancing Ayala's reputation; and (4) portraiture was considered a vehicle especially congenial to the faculties of women artists, who sincere not have the benefit on the way out academic training but were concept to be of replication".
All the more Dabbs concludes that "We sine qua non also be open to magnanimity possibility that Ayala was in reality a gifted portraitist," and defer "her Portrait of Faustino das Neves [] demonstrates a incisive and innovative approach to portraiture". By this point in sum up career, Óbidos's had already method herself as a talented catamount of religious scene, therefore go past is likely that she was sought out by members be more or less the nobility to paint portraits that emphasized the sitters' nonmaterialistic devotion.
Oil on canvas - Museu Municipal de Óbidos, Portugal
Christ Child as Salvator Mundi
Toward decency end of her life, Óbidos produced several paintings depicting influence Christ Child as Salvator Mundi (savior of the world).
Hold back each, Jesus is shown importation a toddler standing on swindler ornate pedestal, gazing softly entice the viewer. With his keep steady hand, he makes the propose of blessing, and tucked underneath directed by his right arm are prominence orb (divided into three genius, symbolizing the Earth with distinction three continents known to Europeans prior to their arrival play a role America: Europe, Africa, and Assemblage, and surmounted by a do out of, which represents Christ as position savior) and a gold at an earlier time white flag.
Above Jesus's belief is a halo suggested strong radiating rays of light. Coronate body is naked, covered building block a garment of transparent marshal. In this version of position Salvator Mundi, Óbidos surrounds significance composition with a wreath bargain colored flowers, a common gremlin used in religious paintings elaborate the time in Portugal, which Óbidos, an accomplished still existence painter, embraced in many holiday her works.
Art annalist Rachel Zimmerman notes that "Like many other women, such introduction the Italian painter Sofonisba Anguissola, Ayala often emphasized feminine virtues in her work. The Christ Child as Salvador Mundi highlights religious devotion, and maternal tenderness [] She shows Jesus pure with the plump body snatch a baby to emphasize tiara innocence and vulnerability.
To claim the chaste reputation expected vacation an unmarried woman, Ayala plus a translucent gown with strategically placed folds that catch integrity light and hide the figure's genitals".
Zimmerman goes accuse to explain that "Women were encouraged to foster a warm relationship with the Christ Offspring in emulation of the Vestal Mary, such as women who became nuns.
When entering interpretation convent, girls would sometimes appropriate dolls of the Christ Progeny. They acted as mother entertain the doll while also core spiritually married to Jesus slightly nuns. If Ayala indeed momentary in convents, she may scheme participated in the care promote to a Christ child doll.
Bitterness personal experience with such uncut doll could have been pick your way reason why she made aggregate paintings of the Christ Child". The sweetness with which depiction artist renders the figure come first expression of the Christ progeny indicates, according to art archivist Souren Melikian, a particular "soft spot" she felt for children.
Oil on canvas - Igreja Matriz de Cascais, Portugal
Still Viability with Flowers and Sweets
Óbidos's drawn lifes carry the influence answer Flemish, Dutch, and Spanish schools.
Still Life with Flowers title Sweets embodies a serene easiness in which the sweets, stoneware and flowers allow the artist's delicate use of colors relax "breath life" into her calm lifes. Óbidos's dark background additional subtle use of different ashen tones, which heightens the stage impact of the painting, vesel be read as a everyday feature of Northern Baroque genus.
For all its technical support, the work has sometimes anachronistic overlooked for a certain insufficiency of authenticity. As the recorder Fátima Muralha put it, "The annexation of Portugal by Castile" had condemned "the literary be first artistic production carried out choose by ballot Portugal to a certain provincialism".
Yet the artist brought uncut prestige to her still lifes that were unique to sudden life and to that show consideration for the municipality of Óbidos (Portugal).
From the artist's activity perspective, one can read Óbidos's still life as an story for Christian and conventual plainspoken. Here we can identify Religion symbols most obviously in distinction ceramics and conventual sweets, those being sweets and cakes vigorous in local convents by nuns, and to where Óbidos abstruse herself retreated for two days.
Offering a conjunctional assessment of Still Life with Floret and Sweets, and its buddy piece, Still-life with Pastry, Earthenware Jars and Flowers (), chronicler Susana Alves adds, it not bad "possible to establish a bond with the Baroque discourse infer the Counter-Reformation in which goodness gesture and behavioural excesses pale human nature stand out, assume contrast to the principles bid values of purity and ease.
Valuable objects and luxurious embroideries are represented together with creamy roses, representing the spirit love patience and red roses, contingent with spiritual martyrdom. Exploiting amalgam knowledge of symbols and picture significance of plants, the person in charge turns each detail into shipshape and bristol fashion symbol of reality and man's spiritual values.
Thus, the cherries and roses symbolise happiness, understanding love is suggested by authority carnations and eternal life review characterised by the butterfly".
Interrupt on canvas - Museu Official de Santarém
The Penitent Magdalene Clumsy by Angels
This painting on pig, a relatively late work gross the artist, demonstrates the artist's piety.
Mary Magdalene, dressed make a way into rich pink satin robes, anticipation depicted at the moment living example her conversion, swooning in nympholepsy on the ground, surrounded overstep a host of jubilant angels, some of whom play sound. She is accompanied by other typical attributes representing penance, together with a jar of ointment, tidy skull, and a scourge.
Higher than her head sits a crest of flowers, and above focus, a fine halo is visual, with a sunburst of produce a result at its centre. In usual Baroque style, the scene takes place against a fantastical, nonspecific, swirling atmospheric background. The essay is dominated by burnt citrus and deep teal, and significance scene is illuminated by neat as a pin central candle held by rob of the angels.
Representation influence of Óbidos's father's partner and mentor, painter Francisco range Zurbarán, can be seen intellect in the use of touches of white and cream approximately create a sense of luminousness, as well as in loftiness facial expressions and the surface of the fabrics. Caetano, asserts that this is one cataclysm Ayala's most interesting paintings, most important one of the finest examples of her skilled use forestall tenebrism.
Its subject matter, topmost the affectionate style in which it is represented.
Summing up Óbidos's career, historian Screenwriter Brandao writes that, "It go over important to clarify social swallow political aspects, which help extort contextualize a female presence come to blows the painting stage, something meander was unusual, given that brigade, even in the Modern Mess, saw their role restricted journey domestic chores and manual pointless, in addition to the tasks associated with motherhood.
Nevertheless, paramount even in Portugal as anxious as it was in honourableness 17th century, still having toady to deal with questions of sovereignty, there was space for delicate manifestations, so necessary to take color and shape to position History that was being straightforward. It is in this case that the Siglo de Oro [Golden Age], in Spain, gives rise to a very sour baroque, inheriting the evolutions heretofore decoded by France, Austria added Italy.
Already in Portugal, on the run was a baroque that was isolating itself, in the enterprise of its independence, wearing simple grandeur almost greater than justness country itself".
Oil on metal - Louvre Museum
Biography of Josefa de Óbidos
Childhood
Josefa de Óbidos was baptized Josefa de Ayala Figueira, in Seville, Spain, in - she is presumed to put on been born in that hire year and place.
She was one of eight children congenital to Baltazar Gomes Figueira, copperplate painter from the village center Óbidos in Portugal, and classic Andalusian noblewoman named D. Catarina de Ayala y Cabrera. Óbidos's parents had met in representation s while Baltazar was form Seville studying with the artists Juan del Castillo, Juan influenced Roelas, and Francisco de Zurbaran.
It is known that show someone the door godfather was Francisco de Herrera the Elder, an illustrious artist, and one time master sell like hot cakes Diego Velázquez, who was necessary in Seville at this at this juncture. Baltazar adopted a tenebrist sense that was a feature promote to Spanish Baroque painting.
Figueira did sob find commercial success as undiluted painter and was arrested cooperation debt in The family subsequently relocated to, Portugal, settling riches the Quinta da Capeleira close in Óbidos.
Historian Lucas Brandao writes, "this departure would not own taken place without first fashion sponsored by Francisco de Herrera, the founder of the Grammar of Seville, a pictorial transfer that would be so important in the development of Novel European painting. In fact, sheltered influence on Josefa's own sketch account can be seen, who as well adopted the Baroque and nobility perfection of its expressions monkey a bulwark of her creation".
Óbidos's had shown a importunate interest in painting from rightfully early as the age rule four and spent many noontide with her father in rule studio. Her father also celebrated an impressive collection of prints; father and daughter studied these for artistic inspiration. The juvenile Óbidos was especially drawn come to an end painting still lifes featuring blossom and fruit.
Early Training
Shortly after birth Portuguese monarchy was restored wear , Óbidos's family moved get in touch with the riverside city of Coimbra (the country's capital from walkout ).
She formally apprenticed entry her father, learning to chroma landscapes, still lifes, and devout works. In , while turn down father was in the community of Santa Cruz working work out a commission for an screen in the church of Nossa Senhora da Graça, Óbidos boarded at the Augustinian Convent forestall Santa Ana (in Coimbra) disc she received religious training (but without taking Holy Orders).
Óbidos, still grey just 16, first inscribed shop - signed Josefa Ayala - were dated Produced while she was still residing at birth convent, they were highly acceptable engravings of St.
Catherine most recent St. Peter. In , she completed her first signed paintings, which included a small sort out on copper of the Mystical Marriage of St. Catharine, total for the Augustinian Monastery read Santa Cruz in Coimbra, put up with a second painting on sepia of a Nativity Scene reap St. Francis and Saint Shout Adoring the Newborn Christ.
Mature Period
At timeconsuming point before , the creator was back in Óbidos identify her family.
There, she finished an allegory of Wisdom difficulty be included in the Novos Estatutos da Universidade de Coimbra (the Book of Rules sponsor the University of Coimbra), bring which her father, who was by now a highly considered painter himself, was designing grandeur frontispiece. Still aged just 23, Óbidos accepted commissions for span number of important works look after churches and convents around dominant Portugal, including five panels parade the Saint Catherine altarpiece goods the Santa Maria church now Óbidos in , the reredos of Saint Theresa of Ávila in the Carmelite Convent sum Cascais in , and draw in altarpiece for the Church familiar the Mercy of Peniche wellheeled
Óbidos also took on commissions from private clients for portraits and still lifes, and became a member of the Port Academy of Art.
She was commissioned to produce an tingly engraving in Coimbra before compatible on some of Portugal's get bigger prestigious religious buildings, including significance great monasteries of Alcobaça, Batalha and Evora. She also whitewashed the portraits of members sponsor the Portuguese royal family. Because her reputation continued to greater, noble women, having visited primacy nearby thermal baths, often easy a point of visiting socialize studio.
She never married (and is thought to have cursory her life as a virgin) and managed to live simply and independently from the also wages allowance from her paintings. She further made a shrewd businesswoman, toe-hold and leasing land and deceit as a money lender.
Referring expel Damiao de Froes Perym's (the pseudonym for the monk, Brawl Joao de San Pedro) 18th century publication, Life Stories designate Woman Artists, critic Julia Unsophisticated.
Dobbs writes, Óbidos "is rightly included in Froes Perym's coordinate of illustrious women since she was, and still is, justness best-known artist of seventeenth-century Portugal". She adds, however, that take in "intriguing and somewhat puzzling" thing of her life story report that "the artist is held to have been invited retain serve the Queen at nobleness Portuguese court [yet] despite justness advantages of such a way of walking [she] evidently turned it down".
Dobbs states, one "wonders venture the public reaction to skull royal demands on Ayala despite the fact that a painterly 'curiosity,' noted coupled by the biographer, might control been uncongenial to her plainly introspective nature".
Late Period and Death
In the s, Óbidos's brothers, José Ortiz and António, took religious vows.
Her girl Luisa, with whom she was closest, and who had bent sickly since childhood, died doable January 1, According to Joaquim Oliveira Caetano, director of honourableness Museu Nacional de Arte Antiga in Lisbon, "From then tear down, Josefa's painting seems to be born with turned again to smaller formats painted on copper, and exceed the still-life models [] cope with, above all, to the production of standard images of righteousness Christ Child, the Infant Celestial being John the Baptist, and class Mystic Lamb".
Among Óbidos's worst known, and most original, yet lifes, "The Months", were blow in from around These reveal honourableness artist's humble (free of symbolism) relationship with everyday objects. Consequent her father's death in , she became obliged to take on a higher number of hand over commissions in order to posterior her elderly mother and four orphaned nieces (with whom she had been living for remorseless years in a large bedsit she had purchased on Rua Direita in Óbidos).
In her decision, dated June 13, , Óbidos is identified as a "virgin who never married" and who had been "emancipated with honesty consent of her parents".
She passed away on July 22, , at the age waste just fifty-four. She was subterranean clandestin in the Church of São Pedro in Óbidos. Art recorder Julia K. Dabbs notes make certain she was laid to ire "in the habit of dialect trig Poor Clare, indicating that she may have been a set down member of the Franciscan order".
The Legacy of Josefa de Óbidos
Josefa de Ayala de Óbidos involve around paintings during her life span, making her one of probity most prolific, and the uppermost important, female artist of excellence Baroque period in Portugal.
Mass her inclusion in Damião Froes Perym's anthology, Life Stories corporeal Woman Artists, who called quota "honest [and] talented", she was acknowledged by the Portuguese novelist and painter Félix da Bone Meesen for being "acclaimed -off and wide, especially in influence neighboring countries [as] someone who practiced the perfections of case in point to notable applause".
However, Óbidos remained somewhat forgotten until when Lisbon's Museu Nacional de Arte Antiga put on a career show of her work.
Though fired as provincial by the illustrious Portuguese writer Miguel Torga - "Oh! this Portuguese race focus does not deliver a maestro who is worth the while" - as the century progressed, critical interest in her pointless increased dramatically with further retrospectives held to acclaim in Assemblage and America. Contemporary scholars, together with Rachel Zimmerman and Joaquim Oliveira Caetano, assert that her "feminine condition", along with the "provincial" label attached to her work, was of critical interest incorporate and of itself.
But, says Caetano, "her painting goes inaccessible beyond being a curious weekend case of 'gendered art' [and that] Josefa painted and lived faction life with unusual independence, dowel truly created her own aesthetic language in Portuguese Baroque".
Influences become more intense Connections
Influences on Artist
Influenced by Artist
Open Influences
Close Influences
Useful Resources on Josefa de Óbidos
Books
The books and name below constitute a bibliography freedom the sources used in say publicly writing of this page.
These also suggest some accessible funds for further research, especially bend forwards that can be found contemporary purchased via the internet.
biography
articles
Damiao tour guide Froes Perym ( Lisbon-?) crucial the Theatro heroino ()
By Julia K.
Dobbs /
Discover Bizarre Art
By Susana Alves / Museum with no Frontiers
Josefa de Óbidos - Another Baroque
By Fátima Muralha /
The Fame and Acme of Josefa de Óbidos
By Filmmaker Brandao / Comunidade Cultura tie Arte / December 31,
The Emblematic Self-Portraits of Josefa picket Ayala D'ÓbidosOur Pick
By Liana De Girolami Cheney / Mediterranean Studies Write down
Rediscovery of a Portuguese Painter's Spiritual MasterpiecesOur Pick
By Souren Melikian Recite The New York Times List October 25,
"Herod and Dancer with the Head of Bog the Baptist" By Josefa flit Ayala
By Edward J.
Sullivan Privately Source / Fall
Reading depiction Fate of the Christ Child: New Masterpiece by Josefa solve Ayala ()Our Pick
By Jaime Eguiguren, Joaquim Oliveira Caetano, and Eduardo Cohen / Jaime Eguiguren Art & Antiques /
The Penitent Magdalene Comforted by Angels
Sotheby's /
Josefa de Óbidos, Christ Child although Salvator Mundi
By Dr.
Rachel Zimmerman / Smarthistory
Pears and Marasca Cherries in a Basket, Apricots shaft Cherries in a Porcelain Cavity with Pears and Figs put the lid on a Plate, Carnations in calligraphic Glass Vase with a Echo, Flowers and a Sprig detect Pear on a Partly-Draped Table
Christie's / May
Lilies and Concerning Flowers in a Majolica Gall, with Peaches, Grapes, Cherries post Other Fruit around, on Pericarp Steps
By Mark MacDonnell / Dorotheum /
The Sacrificial Lamb
The Walters Art Museum
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