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Vittoria Colonna

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Vittoria Colonna (b. 1490/2–d. 1547) made her name as the author of numerous lyric poems in the Petrarchan style in 16th-century Italy. Her poetry was widely published in printed editions in her lifetime and after, as well as being set to music by many composers. She was admired as an impeccable stylist who manipulated the sonnet form with considerable agility while also demonstrating the appropriate decorum and gravity. At the same time, especially in her later spiritual verses, Colonna pushed the genre in new, innovative directions that proved very influential for successive generations of poets. Although she always claimed to have no desire to see her work circulate beyond a close group of friends, Colonna’s reputation as a literary figure was considerable by the time of her death in 1547. She began composing poetry early in life, but her renown as a Petrarchist grew in the wake of her husband’s death in 1525, when mourning became the dominant theme in her lyrics. She was promoted by Pietro Bembo, who admired her style and seriousness, and she corresponded with many of the major literary figures of her day. Her involvement with the religious controversies of the 1530s and 1540s brought a decidedly evangelical flavor to much of her mature poetic production, and was also integral to her close friendship with Michelangelo Buonarroti. Notably, Colonna was the first secular woman to achieve a high level of literary status in Italy for vernacular production, and her example opened the way for subsequent women writers to publish in all manner of genres. In this she was greatly aided both by her aristocratic status and by her widowhood, which conferred on her a degree of independence and wealth that allowed her the space to write. She resisted a second marriage and devoted her later years to religion and literature, producing some of her most striking spiritual poetry in the years before her death. She also wrote a number of prose meditations, expressing a female perspective on the reformed faith that so influenced her.
Title: Vittoria Colonna
Description:
Vittoria Colonna (b.
1490/2–d.
1547) made her name as the author of numerous lyric poems in the Petrarchan style in 16th-century Italy.
Her poetry was widely published in printed editions in her lifetime and after, as well as being set to music by many composers.
She was admired as an impeccable stylist who manipulated the sonnet form with considerable agility while also demonstrating the appropriate decorum and gravity.
At the same time, especially in her later spiritual verses, Colonna pushed the genre in new, innovative directions that proved very influential for successive generations of poets.
Although she always claimed to have no desire to see her work circulate beyond a close group of friends, Colonna’s reputation as a literary figure was considerable by the time of her death in 1547.
She began composing poetry early in life, but her renown as a Petrarchist grew in the wake of her husband’s death in 1525, when mourning became the dominant theme in her lyrics.
She was promoted by Pietro Bembo, who admired her style and seriousness, and she corresponded with many of the major literary figures of her day.
Her involvement with the religious controversies of the 1530s and 1540s brought a decidedly evangelical flavor to much of her mature poetic production, and was also integral to her close friendship with Michelangelo Buonarroti.
Notably, Colonna was the first secular woman to achieve a high level of literary status in Italy for vernacular production, and her example opened the way for subsequent women writers to publish in all manner of genres.
In this she was greatly aided both by her aristocratic status and by her widowhood, which conferred on her a degree of independence and wealth that allowed her the space to write.
She resisted a second marriage and devoted her later years to religion and literature, producing some of her most striking spiritual poetry in the years before her death.
She also wrote a number of prose meditations, expressing a female perspective on the reformed faith that so influenced her.

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Late Love: Vittoria Colonna and Reginald Pole
Late Love: Vittoria Colonna and Reginald Pole
In the final years of her life, Vittoria Colonna developed a profound attachment to the English Catholic cardinal, Reginald Pole, who had formed a circle of reformers in ...
‘She Showed the World a Beacon of Female Worth’ : Vittoria Colonna in Arcadia
‘She Showed the World a Beacon of Female Worth’ : Vittoria Colonna in Arcadia
The Accademia dell’Arcadia (founded 1690) deserves to play a leading role in any account of Vittoria Colonna’s posthumous influence. The author of the first ‘critical’ ed...
Magistra apostolorum : The Virgin Mary in Birgitta of Sweden and Vittoria Colonna
Magistra apostolorum : The Virgin Mary in Birgitta of Sweden and Vittoria Colonna
Vittoria Colonna used a series of role models, such as the heroines of classical mythology, or female saints such as Catherine of Alexandria and Mary Magdalene, in the co...
Drawing Christ’s Blood: Michelangelo, Vittoria Colonna, and the Aesthetics of Reform*
Drawing Christ’s Blood: Michelangelo, Vittoria Colonna, and the Aesthetics of Reform*
AbstractThis article discusses Michelangelo’s drawings for Vittoria Colonna in relation to poetry and prose by Michelangelo, Colonna, and their circle. It focuses on the intersecti...
‘Leading Others on the Road to Salvation’ : Vittoria Colonna and Her Readers
‘Leading Others on the Road to Salvation’ : Vittoria Colonna and Her Readers
This paper considers the question of Vittoria Colonna’s readership beyond the poet’s intimate circle of friends and associates. It asks who was reading Vittoria Colonna i...
‘I Take Thee’: Vittoria Colonna, Conjugal Verse and Male poeti colonnesi
‘I Take Thee’: Vittoria Colonna, Conjugal Verse and Male poeti colonnesi
It is widely known that Vittoria Colonna influenced female love lyricists, as well as spiritual Petrarchists of both genders. Generally unrecognized is the impact her amo...
Introduction: The Twenty-First Century Vittoria Colonna
Introduction: The Twenty-First Century Vittoria Colonna
Although—unusually, for an early modern woman writer—Vittoria Colonna has long been considered part of the canon, several factors have inhibited a true appreciation of he...
‘Ex illo mea, mi Daniel, Victoria pendet’ : A Forgotten Spiritual Epigram by Vittoria Colonna
‘Ex illo mea, mi Daniel, Victoria pendet’ : A Forgotten Spiritual Epigram by Vittoria Colonna
On 27 November 1537, the Ferrarese humanist Daniele Fini sent a Latin epigram to Vittoria Colonna, at that time residing in Ferrara. She responded a few months later with...

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