https://venice.dahvc.org/fall-2020/files/original/Dana_s_Collection/Self-portrait_of_Marietta_Robusti/Autoritratto_dela_tintoretta_alla_spinetta.jpg b6d0e34ca884f08d59163f0820fb1de1 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Dana's Collection Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Self-portrait of Marietta Robusti Subject The topic of the resource Marietta Robusti, daughter of Tintoretto, at the spinet Creator An entity primarily responsible for making the resource Marietta Robusti Source A related resource from which the described resource is derived <ul> <li>Cole, Michael W. Sofonisba’s Lesson: A Renaissance Artist and Her Work. Princeton: Princeton University Press, 2019.</li> <li>Cowen, Tyler. “Why Women Succeed, and Fail, in the Arts.” Journal of Cultural Economics 20, no. 2 (1996): 93-113.</li> <li>Woods-Marsden, Joanna. Renaissance Self-Portraiture: The Visual Construction of Identity and the Social Status of the Artist. New Haven: Yale University Press, 1998.</li> </ul> Image Source: Le Gallerie degli Uffizi Publisher An entity responsible for making the resource available Le Gallerie degli Uffizi Date A point or period of time associated with an event in the lifecycle of the resource c. 1590s Contributor An entity responsible for making contributions to the resource Dana Hogan Rights Information about rights held in and over the resource Public Domain Format The file format, physical medium, or dimensions of the resource Oil on canvas, 93.5 x 91.5 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Le Gallerie degli Uffizi, Florence, Italy Description An account of the resource In this portrait – believed to be a self-portrait of Marietta Robusti – the sitter gazes outward at the audience with a slight smile. Turned in a three-quarter pose toward the spinet, her left hand floats above the keys as if surprised by the viewer while practicing her music. The book of music in her right hand is a testament to her learning in learning; notably, this self-portrait does not refer to her other artistic skill with a paintbrush. Robusti’s pale skin, rosy cheeks, and blonde hair are accentuated by her flat, black background, emphasizing physical qualities that were desirable in Venetian women at that time. Her white dress is demure, refined but unadorned. Together with her pearl necklace, her costume creates the image of a modest and respectable young woman, a type that was commonly used for betrothal portraits to advertise the sitter’s suitability as a potential bride. This portrait may be compared to another self-portrait by the Bolognese painter Lavinia Fontana, who depicted herself as a noblewoman at the harpsichord for the express purpose of introducing herself to her future husband’s family. Michael Cole has also seen Robusti's self-portrait as a response to the self-portraiture of Sofonisba Anguissola [1]. Although Robusti's skill with a brush was well-known and secured her invitations from Philip II of Spain and Maximilian of Austria, her father refused these invitations on her behalf and instead arranged for her to marry a man of his choosing and remain in his household [2]. This portrait, while displaying her artistic skill, focuses on her identity as a marriageable young woman. [1] Michael Cole, Sofonisba’s Lesson: A Renaissance Artist and Her Work (Princeton: Princeton University Press, 2019), 153. [2] Tyler Cowen, “Why Women Succeed, and Fail, in the Arts,” Journal of Cultural Economics 20, no. 2 (1996): 106.