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A biography of Vittoria Colonna, a confidante of Michelangelo, the scion of one of the most powerful families of her era, and a pivotal figure in the Italian Renaissance Ramie Targoff’s Renaissance Woman tells of the most remarkable woman of the Italian Renaissance: Vittoria Colonna, Marchesa of Pescara. Vittoria has long been celebrated by scholars of Michelangelo as the artist’s best friend—the two of them exchanged beautiful letters, poems, and works of art that bear witness to their intimacy—but she also had close ties to Charles V, Pope Clement VII and Pope Paul III, Pietro Bembo, Baldassare Castiglione, Pietro Aretino, Queen Marguerite de Navarre, Reginald Pole, and Isabella d’Este, among others. Vittoria was the scion of an immensely powerful family in Rome during that city’s most explosively creative era. Art and literature flourished, but political and religious life were under terrific strain. Personally involved with nearly every major development of this period—through both her marriage and her own talents—Vittoria was not only a critical political actor and negotiator but also the first woman to publish a book of poems in Italy, an event that launched a revolution for Italian women’s writing. Vittoria was, in short, at the very heart of what we celebrate when we think about sixteenth-century Italy; through her story the Renaissance comes to life anew.
Vittoria Colonna (1490-1547) was the genre-defining secular woman writer of Renaissance Italy, whose literary model helped to establish a decorous and wholly assimilated voice for women within the field of Italian literature. The Companion to Vittoria Colonna brings together an international and interdisciplinary group of leading scholars to assess Colonna’s contribution, both as a writer, a role model, and a contributor to important religious debates of the era. This book, while amply fulfilling the remit of providing a useful and comprehensive handbook to meet the needs of students and scholars at earlier and advanced levels, aims in addition to do more than this, by drawing into a single volume for the first time scholarship from across disciplines in which Vittoria Colonna’s influence has been felt, including literary criticism, religious history, history of art and music. Contributors are: Abigail Brundin, Stephen Bowd, Emidio Campi, Eleonora Carinci, Adriana Chemello, Virginia Cox, Tatiana Crivelli, Maria Forcellino, Gaudenz Freuler, Anne Piéjus, Diana Robin, Helena Sanson, and Maria Serena Sapegno.
The most published and lauded woman writer of early sixteenth-century Italy, Vittoria Colonna (1490–1547) in effect defined what was the "acceptable" face of female authorship for her time. Hailed by the generation's leading male literati as an equal, she was praised both for her impeccable command of Petrarchan style and for the unimpeachable chastity and piety of the persona she promoted through her literary works. This book presents for the very first time a body of Colonna's verse that reveals much about her poetic aims and outlook, while also casting new light on one of the most famous friendships of the age. Sonnets for Michelangelo, originally presented in manuscript form to her close friend Michelangelo Buonarroti as a personal gift, illustrates the striking beauty and originality of Colonna's mature lyric voice and distinguishes her as a poetic innovator who would be widely imitated by female writers in Italy and Europe in the sixteenth century. After three centuries of relative neglect, this new edition promises to restore Colonna to her rightful place at the forefront of female cultural production in the Renaissance.
Painted on the altar wall of the Sistine Chapel, 28 years after Michelangelo completed the glorious and hopeful ceiling, The Last Judgment is full of stark images depicting the End of Days. James Connor uses the famous fresco as the lens by which to view the end of the Renaissance, arguing that Michelangelo's imagery and composition reflect the religious and political upheavals of the time. Combining his flair for storytelling with incisive historical analysis, Connor demonstrates how the Counter-Reformation arose from the ashes of Renaissance Italy, and how that sea change altered the course of Western history.
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