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Giovanna Garzoni Oil Painting Reproductions
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Giovanna Garzoni Plate of Plums with Jasmine and Nuts oil


Giovanna Garzoni
Plate of Plums with Jasmine and Nuts
Painting ID::  29998
new3/Giovanna Garzoni-542939.jpg 		Plate of Plums with Jasmine and Nuts
mk67 Tempera on parchment 9 1/4x15 3/16in Pitti,Palatine Gallery
   
   
     
Giovanna Garzoni Chinese Cup with Figs,Cherries and Goldfinch oil


Giovanna Garzoni
Chinese Cup with Figs,Cherries and Goldfinch
Painting ID::  29999
new3/Giovanna Garzoni-388677.jpg 		Chinese Cup with Figs,Cherries and Goldfinch
mk67 Tempera on paenl 10 1/4x14 3/4in Pitti,Palatine Gallery
   
   
     
Giovanna Garzoni Portrait of Vittorio Amadeo III oil


Giovanna Garzoni
Portrait of Vittorio Amadeo III
Painting ID::  80859
new24/Giovanna Garzoni-349849.jpg 		Portrait of Vittorio Amadeo III
1741(1741) Medium Oil cyf
   
   
     
Giovanna Garzoni Bitch oil


Giovanna Garzoni
Bitch
Painting ID::  95880
new26/Giovanna Garzoni-934777.jpg 		Bitch
circa 1648(1648) Medium oil on canvas cyf
   
   
     
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     Giovanna Garzoni
     Italian Baroque Era Painter, 1600-1670 was an Italian painter of the Baroque era. She was unusual for Italian artists of the time for two reasons: first, in that her themes were mainly decorative and luscious still-lifes of fruits, vegetables, and flowers, and second, because she was a woman. Her training was with an otherwise unknown painter from her native town of Ascoli Piceno. She gained substantial success at her trade in Rome, Venice, Florence (1642-1651), Naples, and Turin. She was patronized by Cassiano dal Pozzo and the wife of Taddeo Barberini, Anna Colonna. In Turin she painted for Carlo Emanuele II, Duke of Savoy. She returns to Rome in the 1650s. In 1666, Garzoni bequeathed her entire estate to the Roman painters' guild the Accademia di San Luca, on condition that they build her tomb in their church of Santi Luca e Martina. Her tomb monument by Mattia De Rossi is to the right of the entrance. Laura Bernasconi was also a woman painter of still-life flowers in Rome in the 1670s. In Rome, she would have been a contemporary of Caterina Ginnasi. It is likely that in Naples she was exposed to the still-lifes of Giovan Battista Ruoppolo and his contemporaries.

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