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Bianca degli Utili Maselli and six of her children Lavinia Fontana was born in, the daughter of the painter, who was a prominent painter of the at the time and served as her teacher. Continuing the family business was typical at the time.

Her earliest known work, 'Monkey Child', was painted in 1575 at the age of 23. Though this work is now lost, another early painting, Christ with the Symbols of the Passion, painted in 1576, is now in the. She would go on to paint in a variety of genres. Early in her career, she was most famous for painting upper-class residents of her native, notably noblewomen. Even as her gender may have hindered her career in a society less accustomed to female artists, it may have made women more comfortable sitting for her.

Her relationships with female clients were often unusually warm; multiple women who sat for portraits painted by Fontana, such as the Duchess of Sora, later served as namesakes or godmothers for her children. She began her commercial practice by painting small devotional paintings on copper, which had popular appeal as papal and, given the value and lustre of the metal. In addition to portraits (the typical subject matter for women painters [ ]), she later created large scale paintings with religious and mythological themes which sometimes included female nudes.

Fontana married Paolo Zappi (alternately spelled Paolo Fappi) in 1577. She gave birth to 11 children, though only 3 outlived her. After marriage, Fontana continued to paint to support her family. Zappi took care of the household and served as painting assistant to his wife, including painting minor elements of paintings like draperies. National Museum of Women in the Arts. Retrieved 29 March 2013.

• Weidemann, Christiane; Larass, Petra; Melanie, Klier. 50 Women Artists You Should Know. Retrieved 22 February 2014. • Murphy, Caroline P. Renaissance Studies. 10 (2): 190–208. • Murphy, Caroline P.

Lavinia Fontana: A Painter and Her Patrons in Sixteenth-century Bologna. Yale University Press. National Gallery of Art. Retrieved 29 March 2013. • Frances Borzello, Seeing Ourselves: Women's Self-Portraiture 1998 References [ ] • Chadwick, Whitney (1990).

Women, Art, and Society. London: Thames and Hudson.

• Findlen, Paula. The Italian Renaissance.. • Gaze, Delia.. • Harris, Anne Sutherland; (1976). Women Artists: 1550-1950.

New York: Los Angeles County Museum of Art. • Smyth, Francis P.; O'Neill, John P. The Age of Correggio and the Carracci: Emilian Painting of the 16th and 17th Centuries. Washington DC: National Gallery of Art. • Murphy, Caroline P.

Lavinia Fontana: A Painter and Her Patrons in Sixteenth-century Bologna. Yale University Press. • Hansen, Morten Steen; Spicer, Joaneath, eds. Masterpieces of Italian Painting, The Walters Art Museum. Baltimore and London.. Attribution • This article incorporates text from a publication now in the: Chisholm, Hugh, ed. Cambridge University Press.

Further reading [ ] • Fortunati, Vera (1998). Lavinia Fontana of Bologna (1552–1614). Milan: Electa..

• Niyazi, Hazan.. Retrieved 29 March 2013. • Wasserman, Krystyna.. National Museum of Women in the Arts. Retrieved 29 March 2013. External links [ ] • Media related to at Wikimedia Commons •, a fully digitized exhibition catalog from The Metropolitan Museum of Art Libraries, which contains material on Lavinia Fontana (see index).