Giulia Lama

Giulia Lama (alias Lisalba Arcadia), was born in the parish of Santa Maria Formosa in Venice. She was born to Agostino Lama, and Valentina dell'Avese.[3] She was the eldest of her three siblings Cecilia, Niccolò, and Pietro. According the records, she resided in Calle Lunga 1242, between the Campo of Santa Maria Formosa and Campo SS. Giovanni e Paolo.[3] She was trained initially by her father, the painter Agostino Lama. She studied alongside a childhood friend, Giambattista Piazzetta (1682–1754), at the Scuola di Antonio Molinari in Venice. As a result of learning together their styles are similar with intense use of chiaroscuro.[4]

A letter written by the Abate Conti to Madame de Caylus in March 1728 has been important in determining Lama's background and character. He remarks, "The poor girl is persecuted by the painters, but her virtue triumphs over her enemies. It is true that she is as ugly as she is witty but she speaks with grace and precision, so that one easily forgives her face."[4] The letter reveals that in addition to being a painter she was skilled in mathematics, poetry, and lace making.[4]

Giulia Lama's Judith and Holofernes

Lama was active as a historical painter and poet in Venice. She resided in Calle Lunga 1242 for a majority of her life. She died on October 7/8th, most likely to the plague in 1747. She had a successful career in private and public figure painting. Lama appears to have been one of the first women to break the barrier against women studying and drawing the nude figure from life.[5] Over 200 drawings show that she indeed studied both male and female nude figures during her training.[6] She had public success in history painting that was typically done by men.

As a highly trained professional, she was just as capable of painting a sensitive portrait such as Young Man with a Turban as she was of carrying out large, original commissions, such as altarpieces, with confidence. It is through the identification of three such altarpieces in a Venetian guidebook of 1733 that Lama's artistic personality began to be reconstructed.[6] Recovery of Lama's oeuvre has required reattribution of works by not only Piazzetta, but also artists such as Federico Bencovich, Domenico Maggiotto, Francesco Capella, and Zurbarán among others.

Study for Joseph Interpreting the Eunuchs' Dreams, c.

Lama's education began early in life, with her father, Agostino Lama, training her as a mathematician and artist.[6] At the time, Venice discouraged women from studying the sciences. This made studying mathematics outside of the home increasingly difficult. Regardless, Lama pursued her educational interest. She began studying under Padre Maffei, a notable mathematician of the time.[3] Sources state that Lama may have studied lace making in order to support herself financially. In addition to lace making, scholars have commented on Lama's embroidery skill.[2] In a letter from Antonio Schinella Conti to Madame de Caylus, Antonio wrote,

"Giulia makes lace and has great interest in Clelia Borromeo's apparatus for making lace by machinery, as used in making socks and cloth. I believe that it is not difficult to invent such apparatus, and whomever [whoever] is successful would make a great deal of money and would reduce the expenses for women's labor. Tell your son. Perhaps he met Lama when he was in Venice. She lives a very secluded life."[3]

Though there are no official records of Lama ever producing lace or a lace making machine, it may have been a source of income. Lama never married and found a way to be financially independent as a woman, which was uncommon for the time.

Lama's formal education after her father's training is slightly unclear, but sources indicate that she may have been trained by Giuseppe Angeli. Her peers included Francesco Cappella, Egidio dall'Oglio, Domenico Maggiotto and Antonio Marinetto at the Scuola di Antonio Molinari in Venice. Over 200 sketches have been found illustrating her early studies of anatomy. One way that Lama would have been able to study the male figure in her daily life, was likely by observing the workmen at the Venetian Arsenal, where she was documented to visit frequently.[3]

Giulia Lama, crocifisso con gli apostoli, c. N/A

Lama's career is fairly elusive as well. Her career as a painter was said to be financially successful, and she received multiple commissions, both public and private.[3] Two years prior to Abbot Contis' letter, Luisa Bergaiii Gozzi (1703-1779) discussed Lama's accomplishments as well:

"... Lisalba Arcadia [Giulia Lama], most erudite in philosophy, a well renowned painter, so much so that the main churches try to have her works, and in particular some altarpieces, she acquired great honors in her manner of painting."[3]

Lama received the important commission to paint the altarpiece for her parish church, Santa Maria Formosa in the Sestiere of Castello, in 1722. Lama received another important commission around 1750: to paint a Crucifixion scene for an altar in San Vidal. [6]

Though there is limited information about the number of poems that Lama composed, sources indicate that she composed two songs, three sonnets and a eulogy. The eulogy honors the death of her literary friend Abbot Antonio Sforza.[3]

Sources indicate that Lama may have died of the plague, on October 8. The record states:

"Lady Giulia, the daughter of Agostino Lama, of about 66 years of age, ill with acute fever due to a skin disease, which degenerated in convulsions, on the 8th day, died today at 21 hours"[3]

She was buried at the Church of Santi Giovanni e Paolo, in 1747.