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It is not that women artists only followed the artistic trends that have been introduced by their male counterparts only; rather, on several occasions, they, with their creative ingeniousness have specified artistic niche for their own. Patriarchal social construction is perhaps one of the most important reasons that women, on most of the occasions, have not been provided with adequate recognition; however, there are few such examples that can regarded as explicit contradiction to such ongoing trend. These women artists, empowered with their talent, versatility and creative potential, not only equaled themselves with their male counterparts, but also have immortalized their stature by contributing in the upcoming genres of artistry. The famous Italian Renaissance artist Sofonisba Anguisola (1535-1625) can be viewed as a true manifestation of such observation.
Sofonisba Anguisola was born in 1535 in Cremona and was eldest among the six daughters. Her father Amilcare Anguissola, compared to the cotemporary social trend of upbringing girl children, was much advanced and despite his financial problems, provided all sorts of facilities and supports to her daughters for their educational as well as cultural advancement. Sofonisba Anguisola’s father was a great admirer of art and creative cultures, and the kind of fame that the artist enjoyed during her career received a fertile foundation through her father since her childhood.1 All the six sisters were competent in practicing different forms of fine arts, namely, music literature and painting2 but when it comes to measurement of their respective artistic genius, especially in the domain of panting, none of them prevailing like that of Sofonisba Anguisola.3
During her early teenage period, Sofonisba Anguisola started receiving training in practicing serious art “with an apprenticeship with a local painter.”4 Undergoing such process of training, especially for a woman
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This paper shall try to establish some arguments on whether women had a renaissance or not. “In her body he must seek not only loveliness, grace, and charm but also choose a woman who is well made for bearing children.” (Allen 813). Women were expected to be of high moral standards and were relegated to keeping the home and raising the children.
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th researching his sonnets, and they include the time of their creation, whether or not they can be built up into one coherent line of events, whether or not they reflect Shakespeare’s own life and personal issues or they are just works of poetry featuring imagined characters,
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