Sofonisba Anguissola’s “The Chess Game,” painted in 1555, transcends a simple depiction of her sisters, Lucia, Minerva, and Elena. It showcases her remarkable ability to capture individual personalities and her innovative approach to portraiture, moving beyond formal rigidity to portray a scene of warmth and spontaneity. Notably, Anguissola subtly challenges prevailing Renaissance gender stereotypes through this inviting tableau.
Before delving into a detailed analysis of the painting—which you can skip to if you prefer—it’s essential to explore Sofonisba’s journey and the factors contributing to her extraordinary success as a Renaissance artist, despite the significant obstacles she faced as a woman. Her story illuminates the complex process of breaking down barriers and underscores the crucial role of community support in achieving success.
Who was Sofonisba Anguissola?
Sofonisba Anguissola, a name largely absent from common art history narratives, was a groundbreaking Renaissance painter who defied the limitations of her time. Born into a noble family in Cremona, Italy, around 1532, Anguissola achieved international renown as a portraitist and paved the way for future generations of women artists. Her talent, recognized and nurtured by her father, earned her prestigious commissions, including a coveted position as a court painter to King Philip II of Spain. Beyond her technical skill, Anguissola’s work offers a fascinating glimpse into the lives of her subjects and the social dynamics of the 16th century, making her a vital figure in the study of both art and women’s history.
A Unique Family shapes Sofonisba Anguissola’s “The Chess Game”
Sofonisba Anguissola’s parents, Amilcare and Bianca, valued intelligence and education, and in a radical move for the time, provided equal opportunities for their daughters and son. While noble daughters were expected to possess artistic knowledge, pursuing art professionally was generally discouraged. Amilcare, however, provided his children with a rich humanist education and encouraged them to develop their talents. This supportive environment fostered a close and affectionate family dynamic, evident in Sofonisba’s works, including “The Chess Game,” which depicts her sisters at play. Throughout her career, Anguissola continued to draw and paint her siblings, offering us a valuable glimpse into Renaissance family life.
Recognizing Sofonisba’s artistic talent, her father secured apprenticeships for her and her sister Elena with Bernardino Campi, a well-established master in Cremona. In Campi’s workshop, Anguissola learned by copying established masters, although her preference was always to paint from life. As a woman, studying the nude human form was considered indecent, preventing her from learning to paint grand historical or biblical scenes. Instead, she focused on family members, everyday scenes, and portraits. Even within this seemingly limited scope, Anguissola innovated, imbuing her portraits with narrative and intellectual nuances, as seen in “The Chess Game.”
Beyond her artistic skill, Anguissola was also known for her beauty, virtue, musical talent, graceful dancing, and educated conversation. These accomplishments, considered appropriately feminine, likely helped mitigate any perceived threat she posed by breaking other cultural norms. By adhering to some societal expectations of a Renaissance noblewoman, she was able to transcend typical limitations and become one of the most celebrated portraitists of her age.
Amilcare
The Anguissola family’s entry into the aristocracy was recent and somewhat unconventional. Sofonisba’s grandfather, was ennobled as an adult and had only one child, Amilcare, born out of wedlock. Through legal proceedings, Amilcare was declared his father’s heir, inheriting both land and title. This meant Sofonisba and her siblings were the first generation born into nobility. As newly minted, minor nobility, they lacked significant wealth, presenting Amilcare with several challenges. Notably, he fathered six daughters before a son and heir was born, creating the pressing need for six substantial dowries to secure their futures through marriage.
Educated and accomplished women were increasingly valued as marriage partners within the nobility, enhancing a family’s prestige. Therefore, Amilcare’s education strategy aimed to secure his daughters’ futures and solidify his family’s newly acquired noble standing. During this time, painting would have been an unconventional addition to an educational program.
Prior to the Renaissance, artists were considered craftsmen, a working-class profession. However, the Renaissance saw a shift in this perception, elevating the status of artists. This change gradually influenced noble education, with painting being added alongside traditional studies like Latin, music, and poetry. Amilcare Anguissola’s decision to educate his daughters in painting was therefore uncommon for his time, yet it anticipated a growing trend.
Beyond basic education, noblewomen were generally not trained as artists, as the profession was still associated with manual labor. Historically, women who entered the arts typically did so within family workshops, as daughters or sisters of established artists, and these artists were outside the aristocracy.
Limitations
Beyond the societal stigma of artists as common laborers, Sofonisba Anguissola, as a female noble, faced unique challenges in pursuing a professional career. Direct payment for her work was considered inappropriate, a significant barrier despite her and her family’s financial needs.
Instead of commissions, she typically received valuable gifts as expressions of gratitude. Furthermore, her ability to sign her works was restricted, particularly in Spain. However, her time at the Spanish court proved crucial in overcoming these economic limitations. King Philip II granted her a generous pension, providing a reliable income when collecting commissions was not an option, allowed her to establish a solid financial foundation.
These restrictions, particularly the lack of signatures, contributed to her semi-obscurity after her death, leading to misattribution of her works to male artists. However, advances in scientific analysis have enabled re-evaluation and re-attribution, finally recognizing her significant contributions to art history. In fact, a famous painting of King Philip II that is now in the Prado was recently re-attributed to Sofonisba.
Artistic Connections Reflected in Sofonisba Anguissola’s “The Chess Game”
Any lingering doubt about Sofonisba Anguissola’s talent is quickly dispelled by examining the esteem in which she was held by her artistic peers. She painted portraits alongside titans like Michelangelo, Titian, Caravaggio, Rubens, and van Dyck, earning recognition from the powerful de’ Medici family and ultimately serving as court painter to King Philip II of Spain. While the relationships between these artists are inherently fascinating, their inclusion here underscores a crucial point: Sofonisba’s extraordinary achievements were not accomplished in isolation. Her parents’ unwavering support, coupled with the respect and encouragement of leading male artists of the era, played a vital role in breaking down barriers.
Men like Michelangelo, focused on advancing art, were willing to challenge the prevailing status quo. The dismantling of such barriers is rarely the work of a single individual, and Sofonisba was uniquely positioned to benefit from a powerful support system that propelled her success. One wonders how many other female artists we have missed out on because they did not have the connections needed to go against the system.
Despite the limitations she faced, Anguissola cultivated important relationships with fellow artists, which significantly contributed to her success.
Michelangelo
Sofonisba Anguissola’s talent was recognized and fostered by many, including the great Michelangelo. Her father, in a letter to Michelangelo, expressed his gratitude for the “honorable and thoughtful affection that you have shown to Sofonisba, my daughter, to whom you introduced to practice the most honorable art of painting.” This connection led to a fascinating exchange.
In 1562, Tommaso Cavalieri, a close friend of Michelangelo, sent three drawings as gifts to Cosimo de’ Medici: two were by Sofonisba, one of which depicted a laughing girl, and another by Michelangelo, a Cleopatra. These drawings were then shown to Michelangelo, who, as Cavalieri recounted in a letter, made a specific request. Having seen Sofonisba’s drawing, which Cavalieri praised as being of equal merit to many others, Michelangelo remarked that while he admired her depiction of laughter, he would be even more interested to see her attempt a crying putto, considering it a greater challenge. In response, Sofonisba sent him a study of her crying brother, Asdrubale, along with their sister Minerva.
This particular drawing captured a charmingly relatable scene: Asdrubale had just thrust his hand into a basket containing a crawfish, prompting his tears. Minerva, while comforting her brother, is herself smiling. The drawing not only showcased Sofonisba’s artistic skill, which Michelangelo clearly admired, but also her ability to capture the genuine interactions and emotions of family life. This work, later reproduced as engravings, is believed to have inspired Caravaggio’s “Boy Bitten by a Lizard,” highlighting the lasting influence of Anguissola’s artistry.
Michelangelo was so impressed by her drawing that for the next two years he would take drawings from his notebooks and send them to Sofonisba and she would redraw them in her own style and send them back for his advice on the results. This exchange offered Anguissola significant guidance and growth as an artist.
Visari
Giorgio Vasari, the renowned Renaissance painter and art historian, visited Cremona and was hosted by Sofonisba Anguissola’s father. During his stay, he had the opportunity to view paintings by the Anguissola children, including “The Chess Game.” Vasari wrote of his experience: “I have seen this year in Cremona, in the house of her father a painting made with much diligence, the depiction of his three daughters, in the act of playing chess, and with them an old housemaid, done with such diligence and facility, that they appear alive, and the only thing missing is speech.”
This account is the earliest known documented mention of “The Chess Game,” which remained in the Anguissola family home for several years.
Van Dyck
Anthony van Dyck, the celebrated Flemish painter, visited Sofonisba Anguissola when she was 92 years old. He painted her portrait not as a commission, but as a tribute to her significant contributions to the art world. Van Dyck was deeply impressed by her mental acuity and sharp intellect, even at her advanced age. He remarked that their conversation had taught him more about painting than any other he had experienced in his lifetime.
Imagined Conversations with Da Vinci
Giovanni Paolo Lomazzo, an artist and art treatise writer, employed an imaginative literary device in his 1564 book, “In Libro de Sogni,” featuring a conversation between Leonardo da Vinci and the ancient Greek sculptor Phidias. Remarkably, Lomazzo included a female artist in this dialogue. Here is an excerpt where da Vinci speaks:
“I bring to your attention the miracles of a Cremonese woman called Sofonisba, who has astonished every prince and wise man in all of Europe by means of her paintings, which are all portraits, so like life they seem to conform to nature itself. Many valiant professionals have judged her to have a brush taken from the hand of the divine, Titian himself, and now she is deeply appreciated by Philip, King of Spain, and his wife, who lavish the greatest honors on the artist.”
Peter Paul Rubens
Anguissola’s works were so highly regarded that numerous copies were created, both as paintings and engravings. Patrons often commissioned copies of her work, desiring to possess a version even if it wasn’t the original. Foreign artists, recognizing her skill, also copied her paintings for study, with Peter Paul Rubens among them. Through these reproductions and imitations, Anguissola’s innovative approach to portraiture began to permeate the genre, influencing other artists who used her work as a model for their own creations.
The Spanish Court
Prince Philip II of Spain played a pivotal role in Sofonisba Anguissola’s career. In 1558, at the age of 26, she joined the Spanish court as a court painter and lady-in-waiting to Queen Elisabeth of Valois, having been recommended by the Duke of Alba. Her talent quickly earned the admiration of the King and Queen, leading to years of painting official court portraits. During her 14 years in Spain, she also taught the Queen and royal children. The Spanish court, then the most influential in Europe, provided her with career security and financial stability. The King facilitated her two marriages and granted her a generous pension, enabling her to live comfortably and pursue her artistic passions freely.
Her Success inspires others
Sofonisba Anguissola’s remarkable success laid crucial groundwork for women in the arts. Her long and celebrated career, coupled with the respect she earned from her contemporaries, subtly shifted societal perceptions. This shift allowed subsequent female artists to venture beyond traditional portraiture and domestic scenes, exploring genres like biblical narratives. Lavinia Fontana and Artemisia Gentileschi, for example, secured patronage that enabled them to paint altarpieces and large-scale biblical scenes. Their ability to defy social expectations and pursue their artistic ambitions was, in part, a direct result of the barriers Anguissola had begun to dismantle.
After her death, Sofonisba Anguissola’s artworks were frequently misattributed to renowned male painters like Leonardo da Vinci, Titian, and de Zurbarán. This misattribution, while unfortunate, serves as a testament to her exceptional skill, as her work was deemed comparable to that of these masters.
Sofonisba Anguissola’s “The Chess Game” Challenges Perceptions
Paintings depicting men engaged in games, often gambling with dice or cards, were common during the Renaissance. These works frequently served as moralizing tales, warning against the perils of chance, and such activities were strictly forbidden for women.
However, chess occupied a distinct position. It was viewed as a strategic game demanding significant intelligence and concentration. The prevailing belief held that only men possessed the requisite focus to excel at chess. When women were depicted playing chess, they were often portrayed in ways that reinforced this stereotype. Either they were surrounded by men dictating their moves, as in Lucas van Leyden’s “Chess Game,” or they were shown as distracted and disengaged, seemingly incapable of the mental exertion required, as in Giulio Campi’s “The Chess Game.”
It’s worth noting that Giulio Campi was related to Bernardino Campi, the artist Sofonisba apprenticed with. They all lived in the city of Cremona, and it is likely Sofonisba had seen this painting.
In contrast, Sofonisba’s “The Chess Game” features an all-female group that challenges past representations that women cannot engage in the intellectual exercise of the game.
New Rules and A Poem Add Meaning to Sofonisba Anguissola’s “The Chess Game”
At the time Sofonisba painted “The Chess Game,” new chess rules were gaining prominence in Italy. These changes significantly elevated the queen’s power, making her the most important piece on the board. She could move in any direction and, under certain conditions, a pawn could be promoted to a queen, effectively resurrecting her. Historically, chess was often associated with the mythical battles of the Amazons. A Cremonese poet, Marco Gerolamo Vida, further reinforced this connection in his poem “The Game of Chess,” which depicted a battle between two queens. In Vida’s narrative, the white queen is defeated, resurrected, and ultimately checkmated by the black queen.
Sofonisba’s painting of her sisters seems to subtly echo this narrative, portraying the two Anguissola sisters as queens engaged in a strategic contest. They are depicted as virtuous, intelligent women, actively participating in an educational exercise, embodying the spirit of these powerful, conquering figures. Our painting shows the moment the sister on the left has checkmated her sister and holds the black queen in her left hand.
Living in an era where women’s life choices were severely limited, the queen’s powerful role in the strategic game of chess likely held a particular appeal. While Sofonisba Anguissola was not a feminist in the modern sense, she subtly challenged the stereotypes that constrained women. By depicting young women skillfully playing a traditionally male game, one that prominently featured a powerful female figure, she subtly chipped away at those limitations.
Reading Sofonisba Anguissola’s “The Chess Game,”
It’s important to note that the identification of the sisters in “The Chess Game” varies among experts. I’ve used the most commonly accepted names, but alternative identifications exist. This confusion stems partly from Elena, the second sister, who became a nun and took the name Sister Minerva, which was also the name of her younger sister.
Sofonisba Anguissola’s “The Chess Game” is an informal family portrait featuring three of her sisters. Lucia, the third eldest, directly engages the viewer with her gaze, loosely holding the black queen, signifying her victory. Lucia, herself a talented artist, tragically died young, though her surviving portrait of Pietro Maria demonstrates her skill and playful spirit, evident in the subject’s quirked eyebrow. Some believe she might have surpassed Sofonisba’s talent. It’s suggested that Lucia’s direct gaze in “The Chess Game” reflects Sofonisba’s deep respect for her, as she is believed to have been Lucia’s teacher.
Opposite Lucia sits Minerva, reacting with surprise to her sister’s winning move. Minerva, unlike her sisters, did not train as a painter, instead excelling in Latin and literature. She wears a distinctive necklace, also seen in Sofonisba’s portrait of their mother, Bianca.
The youngest sister, Europa, adds a charming element to the scene, looking with delight at Minerva’s reaction. Her expression mirrors that of the sister in “Boy Bitten by a Crawfish,” possibly a deliberate nod to the sketch that garnered Sofonisba Michelangelo’s attention.
The sisters are adorned in opulent fabrics, jewels, and elaborate braided hairstyles, far exceeding their likely daily attire. This “queenly” presentation likely serves a dual purpose: it signifies the family’s burgeoning aristocratic status and contrasts with the traditional expectations of noblewomen. While young girls were typically educated in domestic arts like embroidery and weaving, Sofonisba instead portrays her sisters engaged in an intellectual pursuit, a friendly competition more commonly associated with brothers.
Behind them, an older maidservant observes the scene, her simple clothing and headdress clearly marking her social position. Notably, she isn’t watching the girls, but rather the chessboard, suggesting her own engagement and understanding of the game. This subtle detail further subverts expectations, implying that even a woman of lower social standing, presumably without formal education, can appreciate and comprehend a complex strategic game.
Inscription
Looking closely we can see that the edge of the chessboard contains an inscription. In Latin it reads: SOPHONISBA ANGUSSOLA VIRGO AMILCARIS FILIA EX VERA EFFIGIE TRES SUAS SORORES ET ANCILLAM PINXIT MDLV, which translates to, “Sofonisba Angussola virgin daughter of Amilcare painted from life her three sisters and a maid 1555.”
Although to us it feels odd that she describes herself as a ‘virgin daughter,’ it most likely is just a way to refer to her her youth and unmarried status. Sofonisba would not include a signature on many of her works, so this full inscription in notable.
Supporting Details of Sofonisba Anguissola’s “The Chess Game”
Beyond the engaging narrative of Sofonisba Anguissola’s “The Chess Game,” which functions as a vibrant family portrait and foreshadows her later success as a court painter, the work also reveals her mastery across multiple artistic genres. The meticulously rendered chess set and the intricately patterned Turkish rug upon which it rests form a compelling still-life within the larger composition, showcasing her attention to detail and ability to capture the textures and forms of inanimate objects.
The background landscape demonstrates her proficiency in aerial perspective and landscape painting, employing a subtle bluish tonality reminiscent of Flemish landscape artists, creating a sense of depth and atmospheric distance. Furthermore, the majestic oak tree that frames the garden setting, with its meticulously depicted leaves, reveals her keen observation and skill as a naturalist. Each leaf, rendered with precision, contributes to the overall realism of the scene, highlighting her ability to translate the natural world onto canvas with remarkable fidelity. This multifaceted approach, seamlessly blending portraiture, still-life, landscape, and naturalistic detail, underscores Anguissola’s exceptional versatility and artistic prowess.
In Conclusion
Sofonisba Anguissola’s life and work represent a remarkable achievement in the Renaissance. ‘The Chess Game’ not only showcases her artistic talent but also serves as a powerful testament to her ability to challenge societal norms. Her legacy as a pioneering female artist continues to inspire and resonate, ensuring her rightful place in art history
