ТРАНСФОРМАЦІЙНІ ПРОЦЕСИ ЖІНОЧОГО МИСТЕЦТВА ЕЛІЗАБЕТТИ СІРАНІ У РАННЬОМОДЕРНІЙ КУЛЬТУРІ БОЛОНЬЇ

Abstract

On the basis of the anthropocentric approach to the analysis of visual self-presentations of a female artist of the early modern period of Bologna culture in the first half of the 17 th century, to fill in the opportunities that exist in domestic cultural studies and museology regarding the transformational processes of female creativity by Elisabetta Sirani. When writing the article, the principles and methods of philosophical and anthropological research were used in combination with biographical, historical and comparative, chronological, iconographic and figurative-stylistic methods. The scientific novelty lies in the author's methodology for analyzing works of visual (fine) art from the point of view of an anthropocentric approach, as well as in considering the creativity of a female artist of the early modern period of Bologna culture as her self-objectifications, identifying the genesis and iconography of her artistic creativity, which generates a new cultural reality. It has been established that the transformational processes of Elisabetta Sirani's female art in diachronic development can be considered as her self-objectification and a phenomenon of early modern Bologna culture. The results of the study not only provide information about stereotypes of society, the specifics of early modern Bologna culture, but also provide an outlet for the artist's «author's personality». The author of the article refutes the widespread stereotype about the secondary nature of art created by women. It has been found that it was easier for an artist's daughter to gain professional and social status in her father's studio, a nun in a monastery, or a noblewoman who gained clientele thanks to her father's connections at the court of the king or the Pope. At home, a woman was allowed to take drawing and painting lessons, to engage in carving, but when this became her profession, she needed marketing, commercialization of her art, looking for customers and patrons among the nobility, overcoming their skepticism and receiving less money than male artists. The works of the Italian artist embodied the paradigm of her cultural and artistic practice, associated with religious, biblical, historical, mythological, allegorical themes.
Elisabetta Sirani headed her father's art studio, founded an art school for girls, and became a professor at the Academy of St.
Luca in Rome. Thus, Elisabetta Sirani's social and professional status rose and approached the social position of the humanistic intelligentsia rather than the status of an artisan. Against the backdrop of the transformational processes of early modern culture in Bologna, this phenomenon can be considered an indicator of paradigmatic changes in public consciousness
in relation to the social significance of a gifted female artist.