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Barbara Longhi of Ravenna Author(S): Liana Degirolami Cheney Source: Woman's Art Journal, Vol Woman's Art Inc. Barbara Longhi of Ravenna Author(s): Liana DeGirolami Cheney Source: Woman's Art Journal, Vol. 9, No. 1 (Spring - Summer, 1988), pp. 16-20 Published by: Woman's Art Inc. Stable URL: http://www.jstor.org/stable/1358358 Accessed: 15-02-2018 19:21 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Woman's Art Inc. is collaborating with JSTOR to digitize, preserve and extend access to Woman's Art Journal This content downloaded from 137.122.8.73 on Thu, 15 Feb 2018 19:21:16 UTC All use subject to http://about.jstor.org/terms portraits Barbara Longhi of Ravenna LIANA DeGIROLAMI CHENEY Barbara Longhi (1552-1638) of Ravenna was the daughter of Mannerist painter Luca Longhi (1507-1580) and the sister of painter and poet Francesco Longhi (1544-1620). Although her brother remained a dilettante, Barbara, during a painting career that spanned more than 30 years, diligently produced a series of small Madonna and Child compositions that were, according to Vasari, "unique for their purity of line and soft brilliance of color."' Trained by her father, a regional Mannerist influenced by the Roman and Central Italian (Florence and Bologna) schools, Barbara copied many of his works and assisted him with his large altarpieces. She also served as his model and can be seen as a guest of honor in The Marriage at Cana (1579; Classe Library, Ravenna) and as St. Barbara-her patron saint-in the altarpiece The Madon- na Enthroned with Saints (1570; Pinacoteca, Ravenna).2 Although Barbara's work often resembles her father's, the scale differs: she worked with small panels and he on large altarpieces. She also depicted Marian scenes and at least one heroic woman, her Judith with the Head of Holofernes (c. 1570-75; Fig. 1). The Longhis' works reflect the authoritarian-religious ideas of the Counter-Reformation (c. 1545-63), which were more firmly entrenched in the regional schools than in such urban centers as Milan, Florence, Venice, and Rome, where humanist values prevailed. Barbara's message is devotional and pious: feeling is expressed through simple Fig. 1. Barbara Longhl, Judith with the Head of Holofernes (c. 1570- composition, soft colors, and, in the earlier works, an 75), oil on canvas, 34" x 30".' Pinacoteca, Ravenna. exaggerated linear quality. She was inspired not only by her father's paintings, but by the Emilians Correggio and on the viewer's relationship to the image. The element Parmigianino, the Roman engravers Marco Antonio of empathy is crucial in a devotional painting; viewers Raimondi and Agostino Veneziano, and most particularly are-it is hoped-transported into the spiritual realm as by Raphael's Florentine works (1506-1508), when he was they contemplate or pray to the image. This new emphasis registering the impact of Leonardo and Fra Bartolomeo. on the unambiguous depiction of images to elicit the Despite these influences, Longhi developed her own, viewer's devotional response is a direct consequence of recognizable style, seen best in the delicate modeling of the Counter-Reformation. the necks and arms of her madonnas and in her saints, The chronology of Longhi's paintings is unclear, and who are no more fleshy or corporeal than their curling to date only 15 of her works have been identified. (One garments. Her golden palette is warm and subtle. These imagines that a careful study of the work of her father uncluttered statements of civilized piety won for Barbara and brother would reveal that many of their works should Longhi the esteem of contemporary connoisseurs such as be reattributed to Barbara.) Of these, twelve are of the Vasari and Munzio Manfredi. Madonna and Child, with or without saints; one is a Longhi's paintings are devotional rather than religious, Biblical painting of Judith; and two are portraits. It was which is to say they were created to foster a life of Chris- for her portraits that Longhi was especially admired, tian faith amid worldly distractions. Whereas most although,re- ironically, today we know only the Camaldo- ligious paintings refer to historical events-for instance, lense Monk (1573; Pinacoteca, Ravenna) and her self- the lives of Mary, Christ, and the saints-or relate a story, portrait as Catherine of Alexandria (1589; see front cover). devotional paintings avoid narratives, focusing instead With the exception of the Camaldolense Monk, which is This content downloaded from 137.122.8.73 on Thu, 15 Feb 2018 19:21:16 UTC All use subject to http://about.jstor.org/terms Woman's Art Journal 17 Fig. 2. Barbara Longhi, Reading Madonna (c. 1570-75), oil on canvas, 18" x 14". Pinacoteca, Ravenna. dated 1570 or 1573-the writing is not legible-Longhi's works are not dated. When she did sign, she used the initials "B.L.F." (Barbara Longhi Fecit). St. Catherine of Alexandria was painted for the Mon- astery of Classe in Ravenna.s Here, St. Catherine Fig. holds3. Barbara Longhl, Madonna and Child with St. John the Baptist in one hand a palm, a symbol of her martyrdom, (1589-90), and oil on canvas, 18" x 14". Private Collection. between her arms a broken wheel with spikes, her at- tribute. Why Longhi used herself as the protagonist Catherine when her patron saint was St. Barbara is unclear, and since little is known of the events of Longhi's life, it is difficult to' speculate. There are no documents attesting to the fact that St. Catherine is a self-portrait: one has merely to compare the image with her father's portrayal of her in the Madonna Enthroned with Saints- the resemblance is marked. As to her talent, Munzio Manfredi, then director of the Accademia dei Confusi in Bologna, said: "Her art is quite marvelous, and even her father is surprised by her art, especially her portraits."4 Several copies of St. Catherine of Alexandria exist. According to one Bolognese scholar, the replica formerly at the Hermitage Museum, Leningrad (location unknown), was painted by Luca for one of his patrons.5 But it is highly possible that Barbara painted more than one copy of the theme, a common practice in 16th-century Italy. The chronology of her paintings below has been organized on the basis of her stylistic development. In her earliest period, 1570 to 1590, she simplifies the composition, uses modeling only to emphasize the linearity of design, employs a limited palette, and manifests a lyrical, intimate treatment of her themes. Since no works dating after 1605 have been discovered, what would in a better-documented artist be considered a middle period, 1590-1605, will have to be considered her period of maturity. Here she first uses the compositional devices of draping a curtain around a column and opening an area in the background to show a scene from nature. The color becomes more brilliant, and the figures achieve a certain monumentality. Though the lyrical treatment of the theme is retained, a deeper devotional element is Fig. 4. Barbara Longhi, CappuccinlAltarplece (1595), oil on canvas, added, transforming the personal image of the early style 42" x 24". Brera, Milan. This content downloaded from 137.122.8.73 on Thu, 15 Feb 2018 19:21:16 UTC All use subject to http://about.jstor.org/terms 18 Woman's Art Journal 4r:: ___________________I Fig. 5. Barbara Longhi, Madonna and Child with Saint Elizabeth Fig. 6. Barbara Longhi, Madonna and Child with St. John the Baptist of Hungary (?), (c. 1590-95), oil on canvas, 28" x 24". The Louvre. (c. 1595-1600), oil on canvas, 18" x 14". Dresden Gallery. into a universal icon in the later works. Baptist. A dramatic curtain separates the landscape from An example of the early style, Madonna with Sleeping the interior event, in which Mary quietly observes the in- Child (c. 1570; Pinacoteca, Ravenna) is a tender image teraction of her son and nephew. The figures are seated of a child fallen sweetly asleep in the arms of his mother. on an altar supported by decorative posts that in turn No background detail distracts the viewer from the loving rest on a wide step. In this devotional scene the viewer and intimate scene. The Madonna gently casts her eyes is invited to meditate, and in it we see the beginning of on her sleeping child, her facial expression reflecting the Longhi's mature style. blissful moment. Mother and child are closely intertwined; The Madonna and Child with St. Agatha and St. there is a pervasive stillness to the composition.6 Catherine (c. 1590-95; Pinacoteca, Ravenna) is an early By contrast, The Madonna of the Baldacchino (c. 1570- example of her mature work. Here again the background 73; Pinacoteca, Ravenna) depicts a child actively caress- is opened up with a landscape, which is balanced with ing his mother, engaging her attention. Suspended inan elaborate sweep of drapery. The frontal, aloof depiction clouds, the full-length figure of the seated and crowned of Mary contrasts with Longhi's earlier portrayals of the Madonna is protected by a canopy held by angels and Madonna. Mary looks attentively at the ring that Christ by a red cloth of honor. Mother and child are set back holds up to her, a ring that will soon figure in the wedding in the picture plane.
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