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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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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...
‘A Man within a Woman, or even a God’: Vittoria Colonna and 16th-Century Italian Poetic Culture
‘A Man within a Woman, or even a God’: Vittoria Colonna and 16th-Century Italian Poetic Culture
This essay focuses on the famous friendship between Vittoria Colonna (1490–1547) and Michelangelo Buonarroti (1475–1564). The pair met in Rome some time in the 1530s, and continued...
The understanding of a woman: Vittoria Colonna and Michelangelo's Christ and the Samaritan Woman
The understanding of a woman: Vittoria Colonna and Michelangelo's Christ and the Samaritan Woman
This article presents a new contextualization and interpretation of Michelangelo's composition, Christ and the Samaritan Woman, which was made for Vittoria Colonna around 1542. Kno...
The Breasts of Vittoria Colonna
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Abigail Brundin has recently speculated that Vittoria Colonna, who was one of the most important poets of the Italian Renaissance, has received relatively little attention from wom...
Vittoria Colonna: Michelangelo's Perfect Muse
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Abstract In complement to the actual Vittoria Colonna (1492–1547), the life-long friend of Michelangelo Buonarotti (1475–1564), there was a literary one, the Vittori...
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This edited collection presents fresh and original work on Vittoria Colonna, perhaps the outstanding female figure of the Italian Renaissance, a leading Petrarchist poet, and an im...
L'évangélisme poétique. La codification de la poésie spirituelle de Marguerite de Navarre et de Vittoria Colonna
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Tullia d’Aragona: Two New Sonnets
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