Catherine received a wonderful education in reading, writing, ... Catherine of Bologna, patron saint of Artists... by talented artist Sandhi Schimmel Gold. "La leggenda della monaca artista: Caterina Vigri", "Catholic Encyclopedia: St. Catherine of Bologna", Saint Catherine of Bologna Parish, Ringwood, New Jersey, Sanctuary of Corpus Domini, Bologna, Italy, https://en.wikipedia.org/w/index.php?title=Catherine_of_Bologna&oldid=978648808, Italian Roman Catholic religious sisters and nuns, Christian female saints of the Middle Ages, Wikipedia articles with BIBSYS identifiers, Wikipedia articles with CANTIC identifiers, Wikipedia articles with RKDartists identifiers, Wikipedia articles with SELIBR identifiers, Wikipedia articles with SUDOC identifiers, Wikipedia articles with Trove identifiers, Wikipedia articles with WORLDCATID identifiers, Creative Commons Attribution-ShareAlike License. Arthur, Kathleen G. "Il breviario di Santa Caterina da Bologna e 'l'arte povera' clarissa", I Monasteri femminili come Centri di Cultura fra Rinascimento e Barocco, ed. See more ideas about St catherine, Saints, Bologna. 1480 (painted). in the autograph copy of the Sette Armi Spirituali, a Redeemer, and another Madonna and Child in her chapel.

“Ingegno,” meaning genius, creativity and inventiveness, was a highly prized characteristic for fifteenth-century male artists. Caterina was buried in the convent graveyard, but after eighteen days, a sweet smell emanated from the grave and the incorrupt body was exhumed. 93–122. [14] The breviary and its images surely served a didactic function within the convent community. "La Pedagogia dell'immagine nelle miniature e negli scritti di S. Caterina Vigri". About St. Catherine of Bologna . The initials are single bust-length figures and narrative scenes are lacking.
"Malpighi and the holy body: medical experts and miraculous evidence in seventeenth-century Italy", This page was last edited on 16 September 2020, at 04:49. Her self-taught style incorporated motifs from needlework and devotional prints. A contemporary Poor Clare, Sister Illuminata Bembo, wrote her biography in 1469. She wrote a number of religious treatises, lauds, sermons, and copied and illustrated her own breviary (see below). Her feast day is 9 March. [13] Besides multiple images of Christ and the infant swaddled Christ Child, she depicted other saints, including Thomas Becket, Jerome, Paul, Anthony of Padua, Mary Magdalene, her name saint Catherine of Alexandria.

[1] She was raised at Niccolo III's court as a lady-in-waiting to his wife Parisina Malatesta (d. 1425) and became lifelong friends with his natural daughter Margherita d’Este (d. The raised hand probably alludes to the Noli Me Tangere, when she recognizes the risen Christ, but cannot touch him because he has not yet ascended to heaven. to help give you the best experience we can. Catherine came from an upper class family, the daughter of Benvenuta Mammolini of Bologna and Giovanni Vigri, a Ferrarese notary who worked for Niccolò III d'Este, Marquis of Ferrara. by wpengine | Mar 9, 2020 | News/Blog | 0 comments, Guest post by Kathleen G. Arthur, Professor Emerita, James Madison University. While it is possible that Caterina saw a few women’s Books of Hours as a child at court, there does not appear to be any specific model for her work. Caterina inserted the words “Christus Meus” (My Christ) some 350-375 times! [17], A drawing of a Man of Sorrows or Resurrected Christ found in a miscellany of lauds (Ms. 35 no.4, Archivio Generale Arcivescovile, Bologna) has also been attributed to her. Corpus Domini, Bologna. In 1425, Niccolo discovered Parisina’s affair with his son and executed them both. G. Pomata & G. Zarri, 2005, pp. It therefore played an important role in the dissemination of late medieval vernacular mysticism in the early modern period. Although the painting bears her name, in 1941 an x-ray examination cast doubt on the attribution. She was the member of an aristocratic family and the daughter of a diplomat to the Marquis of Ferrara. Your email address will not be published. Corpus Domini, Bologna. [4] In 1431 the beguine house was converted into the Observant Poor Clare convent of Corpus Domini, which grew from 12 women in 1431 to 144 women by the end of the century. More Art Herstory blog posts about Italian women artists: Lavinia Fontana: Italy’s First Female Professional Artist, Guest post by Dr. Elizabeth Lev, Plautilla Bricci (1616–1705): A Talented Woman Architect in Baroque Rome, Guest post by Dr. Consuelo Lollobrigida, Two of a Kind: Giovanna Garzoni and Artemisia Gentileschi, Guest post by Dr. Mary D. Garrard, Suor Orsola Maddalena Caccia (1596–1676), Convent Artist, Guest post by Dr. Angela Ghirardi, Warp and Weft: Women as Custodians of Jewish Heritage in Italy, Guest post by Dr. Anastazja Buttitta, Rediscovering the Once Visible: Eighteenth-Century Florentine Artist Violante Ferroni, Guest post by Dr. Ann Golob, The Protofeminist Insects of Giovanna Garzoni and Maria Sibylla Merian (Guest post by Prof. Emma Steinkraus), A Tale of Two Women Painters, Guest post / exhibition review by Natasha Moura, Renaissance Women Painting Themselves, Guest post by Dr. Katherine McIver, The Priceless Legacy of Artemisia Gentileschi: A Curator’s Perspective, Guest post by Dr. Judith W. Mann, Your email address will not be published. You can use this novena to seek intercession from this holy woman in your life! Biancani, Stefania (2002). $12.00, via Etsy. St. Catherine of Bologna, the patron saint of artists and against temptation. Instead of monkeys and birds, she incorporates needlework such as scalloped edging, drawn lace, blanket stitches, and handkerchief patterns derived from linen corporals for the Eucharist.

The ideals of poverty and humility are further expressed in the plaid veil, a textile which, because it was the cheapest kind of cloth at this time, signifies poverty. St. Catherine of Bologna’s relics can still be viewed today. Here, Saint Catherine of Bologna learned the foreign languages, especially Latin, painting, and everything that belongs to the culture of a young woman of high rank. Several times she depicts the faces of nuns adoring Christ (Image 5). Her book Women, Art and Observant Franciscan Piety: Caterina Vigri and the Poor Clares in Early Modern Ferrara (Amsterdam University Press, 2018) has been reviewed in caa.reviews, Religion and Gender; The Medieval Review, and Renaissance Quarterly. For the feast of the Stigmatization on October 4 (Image 8), Caterina alters the traditional iconography, omitting the seraphim and rays of light. We are now in a position to meditate on a veritable monument of theology which, after the Treatise on the Seven Spiritual Weapons, is made up of distinct and autonomous parts: The Twelve Gardens, a mystical work of her youth, Rosarium, a Latin poem on the life of Jesus, and The Sermons, copies of Catherine's words to her religious sisters. She illuminated her breviary with about fifty simple contour drawings of Christ, the Christ Child, and saints, using red, blue, green, and yellow hues, and signed her name in one of the initials (Image 3). Saint Catherine of Bologna with 3 donors (oil painting) by Master of the Baroncelli Portraits, ca. Arthur, Kathleen G. (2004). Nuns’ breviaries were small-format liturgical prayer books of about 500 pages, not usually heavily decorated. In another text, Vigri herself explained that the purpose of her art was “to increase devotion in herself and others.”. Caterina Vigri’s miniatures fit into our conception of early modern women’s art in several ways. This reminds us of Francis’ belief in the divine beauty of nature and his poetic words in the Canticle of Brother Sun and Sister Moon, “Praised be You my Lord with all Your creatures/ especially Sir Brother Sun/ Who is the day through whom You give us light./
Catherine’s best known text is Seven Spiritual Weapons Necessary for Spiritual Warfare[7] which she appears to have first written in 1438 and then rewritten and augmented between 1450 and 1456. 177–192. She began to copy and illustrate her own breviary (Image 2) at the same time. Women, Art and Observant Franciscan Piety: Caterina Vigri and the Poor Clares in Early Modern Ferrara, Women, Art and Observant Franciscan Piety, Lavinia Fontana: Italy’s First Female Professional Artist, Plautilla Bricci (1616–1705): A Talented Woman Architect in Baroque Rome, Two of a Kind: Giovanna Garzoni and Artemisia Gentileschi, Warp and Weft: Women as Custodians of Jewish Heritage in Italy, Rediscovering the Once Visible: Eighteenth-Century Florentine Artist Violante Ferroni, The Protofeminist Insects of Giovanna Garzoni and Maria Sibylla Merian, The Priceless Legacy of Artemisia Gentileschi: A Curator’s Perspective. [8] The treatise was circulated in manuscript form through a network of Poor Clare convents. All bologna paintings ship within 48 hours and include a 30-day money-back guarantee. She was freer than professional male artists to invent idiosyncratic images outside Renaissance norms. However, Vigri’s art stretches the boundaries of this notion. Vigri is significant as a woman artist who articulated an aesthetic philosophy. The mummified relic of St. Catherine sits forever on a golden throne. She created a mystical interactive dialogue between herself, the nuns, and Christ. She was also a writer and an artist. St. Catherine of Bologna Vinyl Sticker, Catholic mom gift, Baptism gift, First Communion gift, Vinyl Stickers, Catholic Water Bottle Sticker GloryBePrints.


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