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A Widowed Lady

Bust
ca. 1660 (made)
Artist/Maker
Place of origin

The bust has been tentatively identified as Caterina Ginnasi, a painter, and the daughter of Faustina Ginnasi. It is evidently part of a wall monument and is stylistically similar to the monument of Faustina Ginnasi (died 1646), originally within Santa Lucia delle Botteghe Oscure in Rome (demolished in 1938) and now transferred to the chapel within the Palazzo Ginnasi, Rome. It was ascribed by an early source to Cosimo (1618-1688) and Giacomo Antonio (1619-1671) Fancelli. Both brothers trained with Bernini and assisted him on a number of major commissions.

Object details

Categories
Object type
TitleA Widowed Lady (generic title)
Materials and techniques
White marble
Brief description
Bust in white marble, perhaps of Caterina Ginnasi, by Cosimo Fancelli, Rome, ca. 1660
Physical description
The sitter is shown in full face, her head is covered with a veil which falls over her shoulders, and she wears a close-fitting dress open at the throat with a wide turned-back collar.
Dimensions
  • Height: 780mm
  • Width: 530mm
  • Depth: 330mm
Measured by Conservation for Europe 1600-1800
Gallery label
(09.12.2015)
Bust of a Woman
About 1660

This bust was originally part of a wallmounted funeral monument. It may commemorate Caterina Ginnasi, a cardinal’s niece and one of the few known 17th -century female painters. She is shown with a veil covering her head as a sign of modesty and devotion, perhaps in reference to her pious life, passed in a Roman convent.

Italy (Rome)

Possibly by Cosimo Fancelli

Marble
The bust, evidently part of a wall monument, was said to have been purchased from the convent of Santa Lucia in Rome. It is stylistically similar to that on the monuments of Faustina Ginnasi (died 1646), formerly in Santa Lucia dei Ginnasi (demolished in 1938), which is ascribed ba an early source to Cosimo Fancelli. Fancelli was a pupil of Bernini and assisted him on a number of major commissions. Several portrait busts by the artist exist in Rome, dating from between 1660-1680.
Object history
The bust, evidently part of a wall monument, was said to have been purchased from the convent of Santa Lucia delle Botteghe Oscure in Rome (demolished 1938).
It is stylistically similar to that of the monuments of Faustina Ginnasi (died 1646), originally within Santa Lucia and now transferred to the chapel within the Palazzo Ginnasi, Rome. It was ascribed by an early source to Cosimo (1618-1688) and Giacomo Antonio (1619-1671) Fancelli.Both brothers trained with Bernini and assisted him on a number of major commissions. Several portrait busts by Cosimo Fancelli exist in Rome, dating from between 1660-1680. Based upon this evidence, this bust has tentatively been identified as Caterina Ginnasi (1590-1660), the daughter of Faustina (Martinelli, 1956, p. 32).
Caterina was a painter of religious altarpieces who trained with Gaspare Celio and Giovanni Lanfranco. Eschewing marriage, she lived at the convent of Santa Lucia which may explain the veil worn by the sitter. After her uncle’s death she dedicated herself to religious initiatives (Melasecchi, Olga, ‘Caterina Ginassi’ Dizionario Biografico degli Italiani, Vol. 55, 2001). Caterina was buried in the chapel of S. Biagio in the family church at the foot of the tombs of both her mother and uncle, the art patron, Cardinal Domenico Ginassi (Brunelli, Giampiero, ‘Domenico Ginassi’ Dizionario Biografico degli Italiani, Vol. 55, 2001; also see Dombrowski, Damian, 'Addenda to the Work of Giuliano Finelli' , The Burlington Magazine, Vol., 14, No. 1149, (Dec. 1998), pp.824-828).
Subject depicted
Summary
The bust has been tentatively identified as Caterina Ginnasi, a painter, and the daughter of Faustina Ginnasi. It is evidently part of a wall monument and is stylistically similar to the monument of Faustina Ginnasi (died 1646), originally within Santa Lucia delle Botteghe Oscure in Rome (demolished in 1938) and now transferred to the chapel within the Palazzo Ginnasi, Rome. It was ascribed by an early source to Cosimo (1618-1688) and Giacomo Antonio (1619-1671) Fancelli. Both brothers trained with Bernini and assisted him on a number of major commissions.
Bibliographic references
  • Inventory of Art Objects Acquired in the Year 1861 In: Inventory of the Objects in the Art Division of the Museum at South Kensington, Arranged According to the Dates of their Acquisition. Vol I. London: Printed by George E. Eyre and William Spottiswoode for H.M.S.O., 1868, p. 3
  • Maclagan, Eric and Longhurst, Margaret H. Catalogue of Italian Sculpture. Text. London: Victoria and Albert Museum, 1932, p. 162
  • Pope-Hennessy, John. Catalogue of Italian Sculpture in the Victoria and Albert Museum. Volume II: Text. Sixteenth to Twentieth Century. London: Her Majesty's Stationery Office, 1964, p. 616
  • Raggio, Olga. Catalogue of Italian Sculpture in the Victoria and Albert Museum. Art Bulletin. Vol. L, 1968, p. 104
  • Melasecchi, Olga, ‘Caterina Ginnasi’ Dizionario Biografico degli Italiani, Vol. 55 (2001)
  • Martinelli, V., 'Novita Berniniane' Commentari. vii, Rome, 1956, p.32
Collection
Accession number
7530-1861

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Record createdSeptember 17, 2008
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