The current exhibit at the National Museum of Women in the Arts, Italian Women Artists from Renaissance to Baroque certainly filled some prominent gaps in my college art history textbook, showcasing the contributions women made to these formative movements. Portraiture, illuminated manuscript, miniature, religious painting and allegory were the dominant themes of the time and are all on display here. The exhibit highlights a small handful of artists who, by utilizing these themes, defied convention to make a name for themselves.

Sofonsiba Anguissola’s self-portraits and Elisabetta Sirani’s portraits dominate the exhibit, and it is easy to see why. Sirani completed over 200 pieces of art during her lifetime, and Portia wounding her Thigh (1664), one of Sirani’s most famous works, is a centerpiece of the show. Simone Tassi, a rich merchant, commissioned the painting to signify his allegiance to his hometown city of Bologna, versus allegiance to Rome. Sirani portrays Portia in a red dress with her leg outstretched and uncovered. She has a contemplative look upon her face, right hand raised with dagger pointing to her bloodied thigh, the focus completely on Portia and her action. The background is dark, while she and her red dress are light and highly rendered. Her leg points to the left of the painting and draws the eye to a hallway in the background showing slightly blurry figures: the plotters of Caesar’s death.

Anguissola’s collection within the exhibit is mostly self-portraits, and all are easily identifiable as hers. The self-portraits are highly rendered with dark colors in oil and often with plain dark backgrounds. Anguissola stares directly at the viewer with an intense gaze, always in the same pose. She sits with her head slightly turned to the left, typical of self-portraiture.

Many small delicate nature studies and still-lifes done by Gionvanna Garzoni are peppered throughout the show, but fail in vying for your attention when forced to go toe to toe in a room full of overwhelmingly large dark paintings in thick oil and opulent gilded frames. Her technique is a stark contrast to the other works, in that she used tempura and charcoal pencil to create light, airy nature studies.