Identification and Transgressive Gazing: Paola Gonzaga’s Fontanellato Frescoes

Of all the early modern depictions of Diana and Actaeon, one of the most unusual is located in a small room inside the Rocca Sanvitale, the castle of Fontanellato in northern Italy. On the ceiling, Parmigianino frescoed scenes featuring the Ovidian tale. While much of the imagery is typical of the p...

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Main Author: Caroline Koncz
Format: Article
Language:English
Published: eum edizioni università di macerata 2024-01-01
Series:Il Capitale Culturale: Studies on the Value of Cultural Heritage
Online Access:http://riviste.unimc.it/index.php/cap-cult/article/view/3289
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author Caroline Koncz
author_facet Caroline Koncz
author_sort Caroline Koncz
collection DOAJ
description Of all the early modern depictions of Diana and Actaeon, one of the most unusual is located in a small room inside the Rocca Sanvitale, the castle of Fontanellato in northern Italy. On the ceiling, Parmigianino frescoed scenes featuring the Ovidian tale. While much of the imagery is typical of the period, the most famous scene from the myth, in which the goddess Diana catches Actaeon beholding her nude form, is strikingly less so. This article provides an alternative reading of the ceiling’s iconography, one that considers how the room’s patron, Paola Gonzaga, might have interacted with the frescoes. Through the use of methodologies such as gender and sexuality studies and iconography, I argue here that Parmigianino’s imagery was specifically crafted for a female beholder, Gonzaga, granting her the ability to not only identify with the figures depicted, receiving moral instruction from them, but also sensually enjoy them in private.
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spelling doaj.art-17003c06baff4e77a97d272779e47b5c2024-01-31T15:05:58Zengeum edizioni università di macerataIl Capitale Culturale: Studies on the Value of Cultural Heritage2039-23622024-01-010029332610.13138/2039-2362/32892397Identification and Transgressive Gazing: Paola Gonzaga’s Fontanellato FrescoesCaroline Koncz0Angelo State UniversityOf all the early modern depictions of Diana and Actaeon, one of the most unusual is located in a small room inside the Rocca Sanvitale, the castle of Fontanellato in northern Italy. On the ceiling, Parmigianino frescoed scenes featuring the Ovidian tale. While much of the imagery is typical of the period, the most famous scene from the myth, in which the goddess Diana catches Actaeon beholding her nude form, is strikingly less so. This article provides an alternative reading of the ceiling’s iconography, one that considers how the room’s patron, Paola Gonzaga, might have interacted with the frescoes. Through the use of methodologies such as gender and sexuality studies and iconography, I argue here that Parmigianino’s imagery was specifically crafted for a female beholder, Gonzaga, granting her the ability to not only identify with the figures depicted, receiving moral instruction from them, but also sensually enjoy them in private.http://riviste.unimc.it/index.php/cap-cult/article/view/3289
spellingShingle Caroline Koncz
Identification and Transgressive Gazing: Paola Gonzaga’s Fontanellato Frescoes
Il Capitale Culturale: Studies on the Value of Cultural Heritage
title Identification and Transgressive Gazing: Paola Gonzaga’s Fontanellato Frescoes
title_full Identification and Transgressive Gazing: Paola Gonzaga’s Fontanellato Frescoes
title_fullStr Identification and Transgressive Gazing: Paola Gonzaga’s Fontanellato Frescoes
title_full_unstemmed Identification and Transgressive Gazing: Paola Gonzaga’s Fontanellato Frescoes
title_short Identification and Transgressive Gazing: Paola Gonzaga’s Fontanellato Frescoes
title_sort identification and transgressive gazing paola gonzaga s fontanellato frescoes
url http://riviste.unimc.it/index.php/cap-cult/article/view/3289
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