Where to See Barbara Longhi

I am very sorry, but the reference passages provided do not contain information about where to view the work of Barbara Longhi. The passages consist of lists of museums, their addresses, and telephone numbers. These museums are located in the United States, Canada, the United Kingdom, Italy, Mexico, and the Netherlands. They include the Charles Hosmer Morse Museum of American Art, Los Angeles County Museum of Art (LACMA), the Metropolitan Museum of Art, the Minneapolis Institute of Arts, the Museum of Modern Art, the Royal Ontario Museum, the Virginia Museum of Fine Arts, the Wolfsonian at Florida International University, the Bakelite Museum, Brighton Museum & Art Gallery, the Geffrye Museum, Manchester Art Gallery, the National Museums of Scotland, the Victoria & Albert Museum, Palazzo Schifanoia, Galleria degli Uffizi, Palazzo Pitti, Museo Nazionale del Bargello, Pinacoteca di Brera, Galleria e Museo Estense, Casino dell’Aurora, Palazzo Barberini, Palazzo del Vaticano, Papal Basilica of Saint Peter, Palazzo Pubblico, Pinacoteca Nazionale di Siena, Galleria Internazionale d’Arte Moderna di Ca’ Pesaro, Galleria dell’ Accademia, Museo Correr, Palazzo Labia, Museo de Arte Alvar y Carmen T de Carillo, Stedelijk Museum, Rijksmuseum, Mauritshuis, Fondazione Regionale Cristoforo Colombo, Museo del Bijou di Casalmaggiore, and Museo Richard-Ginori della Manifattura di Doccia.

Information about prints by Barbara Longhi is scarce. However, some general information about fine art prints may be helpful. Since the mid-20th century, printmaking has become more accepted as a significant art form. The practice of printmaking allows artists to explore aesthetic concepts, and it has been revitalised by artists across the world. Prints are often produced in limited editions, with each print numbered and signed by the artist. The numbering indicates the print's position in the edition (e.g., 12/25 means it is the twelfth print out of an edition of 25). Some artists also create a small number of artist's proofs, marked with "AP". The limited number of prints available often increases their value to collectors. An original print is conceived and executed solely as a print, with each print individually inked and pulled from the matrix. This differs from a reproduction, which is a copy of a work originally created in another medium. The Professional Art Dealers Association of Canada has established a definition of an original print, which is accepted by major arts organisations in the country.

Barbara Longhi (1552^[1]-1638^[1]) was an Italian painter from Ravenna. She was the daughter of the painter Luca Longhi, from whom she likely received her training. Although details of her life are scarce, she achieved recognition as an artist in her own time, mainly for her paintings of female saints and Madonnas. Longhi's works are significant as examples of female artistic achievement in a period when women faced considerable obstacles to entering the art world. Her paintings offer insight into the artistic conventions and religious sensibilities of the late Renaissance. They also provide a perspective on the representation of women in religious art, executed by a woman artist. Interest in Longhi's art has grown in recent years, as scholars and curators seek to recover the contributions of women artists throughout history. Her paintings are now included in major museum collections, and she is recognised as an important figure in the history of Italian art.

Oil paint was a common medium available to painters of Longhi's era. Artists often began with a white ground layer to make colours reflective. An underdrawing defined contours, and a thin, transparent imprimatura layer established a middle tone. The artist could then add highlights in white paint. Colour was applied as thin, transparent glazes, allowing the underpainting to define forms. Highlights used the thinnest possible application of local colour, while dark tones required many layers to cover the underdrawing. The smooth surface meant brushes with soft hair were needed, and pigments were tempered with a fluid oil medium, possibly thinned with turpentine. Linseed oil, which dried quickly, was likely used.

It is difficult to identify specific artists who were directly influenced by Barbara Longhi, as her artistic contributions have often been understood through the lens of her male contemporaries. During the early nineteenth century, local writers chronicled the artistic achievements of Bolognese women. However, the works by Bolognese women relate more directly to that of their male contemporaries than to that of other women. Lavinia Fontana is understood as the disciple of her father, Prospero, and Elisabetta Sirani is seen as a follower of Guido Reni. During the seventeenth century, Elisabetta Sirani and her female followers developed a subspecialisation in pictures of heroines from antiquity, produced for a small group of Bolognese private collectors whose taste for such subjects is documented in inventories and in a few extant works. The high percentage of such subjects among the works of seventeenth-century Bolognese female painters suggests that patrons found particular appeal in having heroic women painted by women artists whose own achievements may have been seen as analogous to accomplishments by ancient women that were also viewed as atypical of their sex.

Barbara Longhi (1552^[1]-1638^[1]) was an Italian painter from Ravenna. As the daughter of painter Luca Longhi, her initial artistic influence came from her father's workshop. Luca, a well-regarded artist in Ravenna, likely provided Barbara with her earliest training and exposure to painting techniques. Beyond her father, it is thought that she was influenced by local artists of the period, such as those in the circle of Correggio and Parmigianino. These artists were known for their graceful figures and use of colour, elements that are reflected in Longhi's work. Although documentation is lacking, it is reasonable to assume that Longhi would have studied the works of other established artists through prints or drawings. The artistic environment of Ravenna, while not as prominent as Florence or Rome, would still have offered Longhi access to a range of artistic styles and ideas, which would have helped shape her own unique approach to painting.

Pietro Longhi (1702-85) is best known for his paintings of 18th-century Venetian life. Although he began with mythological and religious subjects, he shifted to genre scenes, influenced by Giuseppe Maria Crespi. He also studied engravings of Antoine Watteau, and his drawings show an affinity with French Rococo artists. Longhi's genre paintings often resembled those of his French contemporaries. Two examples are *The Married Couple’s Breakfast* and *Blindman’s Buff* (both 1744); these were owned by the British consul in Venice, Joseph Smith, and later entered the collection of George III. One of Longhi's more unusual paintings is *The Rhinoceros* (1751). It depicts a rhinoceros on display during Carnival in Venice. Longhi included portraits of the rhinoceros's owner and the patron, Giovanni Grimani, among the onlookers. The painting's natural lighting and attention to detail create a sense of realism. During his lifetime, Longhi's work was compared to that of Carlo Goldoni, who sought truth in his plays. Goldoni even wrote a sonnet in 1750 comparing Longhi's art to his own. Longhi's paintings were popular among Venetian families and European courts.

Barbara Longhi was an Italian painter working in the late Renaissance period, specifically the second half of the 16th century. Her father, Luca Longhi, was a painter of some local standing in Ravenna, and she is thought to have trained with him. Though not much is known about her life, she remained in Ravenna, unmarried, and enjoyed a successful career there. Stylistically, Longhi's work is associated with the late Mannerist and early Baroque styles. She is best known for her small-scale paintings of the Madonna and Child; these works reflect the influence of Raphael and Correggio. Her paintings are characterised by their delicate beauty, gentle emotion, and refined technique. Though she produced some history paintings and portraits, her depictions of the Virgin Mary are the works for which she is most recognised.