Ginevra (Rangoni) Rangone

Notater:

http://www.encyclopedia.com/doc/1G1-122866052.html
(Leonardo - Mona Lisa)
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The original destination of the portrait is mysterious, and as a consequence, the identification of the sitter has been a matter of debate. (23) The portrayed woman has been identified as the Petrarchan poetess Veronica Gambara, the wife of Count Giberto IX da Correggio. (24) Alternatively, it has been suggested that she is Ginevra Rangone, wife of Giangaleazzo da Correggio, because of the evident signs of her piety. (25) Whether the sitter was Veronica Gambara or Ginevra Rangone, both of whom were widowed in the years 1517-18, or perhaps another local noblewoman, the fact remains that the portrait depicts one of the "virtuous ladies of Correggio" described in Ludovico Ariosto's Orlando Furioso and that it is merged with courtly discourses developed at that court. (26) The sitter's affiliation with the Franciscan tertiary order denotes Ginevra Rangone as the most plausible candidate for Allegri's painting. Here, the artist created a portrait that exhibits the dynamic relation between the portrayed lady as the subject and the patron of the painting and his self-presentation as Laetus, thereby presupposing an interdependence between the painter's self-naming, the female identity, and the image itself. (27) In what follows, the focus on the noblewoman's biography, her description conveyed by poets, and the modalities of seeing the image and its creator will strengthen the identification of the sitter as Ginevra Rangone, while at the same time enhancing the issues of the artist's self-naming and painterly style.
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Leonardo in his Mona Lisa (Fig. 7). (41) Leonardo represents the form and character of this lady through the graceful posture of her body and the mysterious fascination of her gaze and smile. (42) Similarly, Allegri reworked the posture, attitudes, and gesture of the Leonardesque model to convey the sense of Ginevra Rangone's inner qualities through the perfection of her beauty and bodily demeanor. What characterizes Correggio's portrait are the lady's penetrating dark eyes, which quietly and intensely meet those of the beholder, and her elusive gaze. The ambiguity of the woman's expression arises from eyes that are serious, contrasting with her radiant face and her sidelong glance. The similarity between this sitter's .......

Fødsel:
http://fr.wikipedia.org/wiki/Maison_Gonzague,_lign%C3%A9e_de_Castiglione_et_Solf%C3%A9rino

Død:
http://216.239.59.104/search?q=cache:dqG0oZzMT6sJ:www.encyclopedia.com/doc/1G1-122866052.html+%22Niccol%C3%B2+Rangone%22&hl=no&ct=clnk&cd=1
Ginevra Rangone died in 1540 without heirs.

Gravlagt:
http://www.encyclopedia.com/doc/1G1-122866052.html
August 10, 1540--Lady Ginevra, the count Guido Rangone's sister, and the count Niccolo and Bianca Bentivoglio's daughter, died. She first married the count Giangalezzo da Correggio, and then the gouty count Aloviso [Luigi Alessandro] of Castelgoffredo. She was buried in Mantua today 10 August: she was in the habit of a Franciscan tertiary with sabots on her bare feet; and she was borne by sisters of the order and was accompanied by more than 60 sisters. Biagio Paganin of Modena who had seen it, told me all this

Ginevra giftet seg med Giangaleazzo (Jean Galeazzo seigneur de) da Correggio 1503. Giangaleazzo (sønn av Niccolo da Correggio) døde 1517. [Gruppeskjema] [Familiediagram]

Ginevra giftet seg med Aloviso Luigi Alessandro, Gonzaga Jul 1519. Aloviso ble født 1494; døde 1549. [Gruppeskjema] [Familiediagram]