Fede Galizia
A Pioneering Old Mistress
Still-life of Peaches, Jasmine, and a Spray of Hyacinth in a Metal Fruit Stand, with Tulips and Hazelnuts in the Hull, all on a Stone Ledge (early 1600s)
Fede Galizia
“For over 300 years, her paintings were likely labeled as anonymous or attributed to male artists.”
– Kelly Cricchio
An Article by Guest Writer: Kelly Cricchio
Judith Slaying Holofernes (1601)
Fede Galizia
Several years ago, I found myself back at the Borghese Gallery in Rome, wandering the museum's rooms in anticipation of the masterpieces I knew I would find—sculptures by Bernini and Canova, paintings by Raphael, Titian and Caravaggio. However, with the turn of a corner, an Old Mistress took me by complete surprise. Not only had I never heard of the artist, but her painting was also one of the most stunning I had ever seen of the biblical heroine Judith. I took my time absorbing every exquisite detail. Especially the way light seemed to dance across the surface of Judith’s gown, her jeweled headdress and her sword. I left the museum that day on a new quest to discover more about the wonderfully talented artist that is Fede Galizia.
Born in Milan in 1578, Galizia was the daughter of an artist, the miniature painter Nunzio Galizia. Like many other female artists of her time, it was from her father that she learned to paint. By the age of 12, she was already recognized as an artistic prodigy, and by age 20, she was internationally renown for her naturalistic portraits and religious paintings. In fact, one of her earliest patrons, Paolo Morigia, praised his portrait by her as being “of such excellence, and such a good likeness, that one could not desire anything more.” Unfortunately, little more of her life is known. Galizia drafted her will on June 21, 1630, and it’s thought she died shortly after of the plague, which was then affecting much of Italy.
A Glass Compote with Peaches, Jasmine Flowers, Quinces, and a Grasshopper (1607)
Fede Galizia
Galizia’s refined ability to depict the natural world led her to produce a diverse body of work, which was an unusual accomplishment for a woman artist. Though better known for her portraits and public commissions for altarpieces in Milanese churches, she also returned to the subject of Judith and Holofernes several times and painted numerous still-lifes. In fact, still-life paintings account for a majority of her surviving oeuvre and are considered her most important works today. Her magnificent fruit and flower paintings are among the earliest known by any Italian artist (a signed painting by her from 1602 is thought to be the first dated still-life by an Italian), making Galizia a pioneer in this new genre in the early 17th century.
Noli me tangere (1616)
Fede Galizia
Galizia’s still-lifes impress with her remarkable ability to bring flora and fauna to life. Her compositions, which are noted for their restrained simplicity, are never overcrowded, allowing each element a monumental presence. Careful modulations of light enhance the individual textures of the beautifully rendered fruits and flowers, which starkly contrast against the dark backgrounds of her paintings. And still today, the highly naturalistic details prompt an exploration of the senses—you can imagine the feel of the fruit’s textured skin, the juicy taste of the perfectly ripe fruit and the fragrant aroma of the fresh flowers.
Yet, as too often happens with female artists, Galizia’s name faded from history after her death. It wasn’t until 1965 that she was brought to modern scholars’ attention with the discovery of her earliest still-life painting from 1602. Meaning, for over 300 years, her paintings were likely labeled as anonymous or attributed to male artists. I can’t help but wonder how many more of Galizia’s paintings are waiting to be rediscovered. Thankfully, she is finally beginning to regain the fame she enjoyed during her lifetime. In 2019, one of her still-life paintings sold at auction for more than 2 million dollars, setting a new record for the artist. Her work is constantly featured in exhibitions showcasing Italian women artists' work from the Renaissance and Baroque. And this summer, the artist's first solo exhibition is set to open at the Castello del Buonconsiglio in Trento—a show surely not to be missed or viewed too quickly.