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Contrary to the image Vives evokes of women disappearing into old age, Erin J. Campbell describes a proliferation of portraits of old women in the second half of the sixteenth century in northern Italy, focusing on Bologna but also referencing Milan and the Veneto. In Old Women and Art in the Early Modern Italian Domestic Interior , Campbell argues that these portraits served to remind viewers of the duty of old women to model familial and civic virtue. Previously overlooked in the scholarship, the portraits coincide with a period of increased attention to the role of women in the family and in the community following the religious reforms of Gabriele Paleotti, Archbishop of Bologna, and a leading voice on the function of art during the Counter Reformation.
Although portraits of old women were commissioned by families to be viewed in domestic interiors, Campbell convincingly argues that their influence extended well beyond the confines of the palace to the larger civic community. Arguing that porticoes functioned as liminal spaces where the domestic and the civic merged, Campbell demonstrates how the interior of palaces extended out into the public life of the city.
Campbell writes that visible signs of old age were understood by contemporaries as indicating that a woman had moved beyond childbearing and should practice abstinence. Grounded in the scholarship on Florentine marriage profile portraits, chapter 4 examines the significance of both the clothing worn by widows in these portraits and their aging skin. In her final chapter, Campbell connects the visible signs of age in these portraits with contemporary texts characterizing the aging process as a time of atonement for original sin and the suffering of old age as a cleansing of the spirit in preparation for salvation.
The authors Campbell cites encouraged women to suffer—even to disappear through fasting to the point of emaciation and then death—in emulation of the suffering of Christ and the martyrs. Kimberly L. Concise, critical reviews of books, exhibitions, and projects in all areas and periods of art history and visual studies.
