Hidden Championnes

Hidden Championnes – Female Portraits

An ongoing series of portraits of women to celebrate their achievements and raise their profile

Hidden Championnes – Female Portraits

An ongoing series of portraits of women to celebrate their achievements and raise their profile

In the case of the composer Barbara Strozzi, I discovered that the only portrait of her that has survived (or was ever painted) depicts her with her breasts hanging out. I was appalled.

– Roxana Panetta

Over the centuries, there have been repeated attempts to bring special women back into the collective memory. This is another reason why we still know women today whose work would otherwise have been forgotten. And who knows how many women have nevertheless suffered this fate?

With this series of portraits, Roxana Panetta wants to show the women as they would have been portrayed during their lifetime. The further back in history, the more the imagination takes over to create the portrait. In these "old" portraits, the artist draws on the artistic styles of the time in which the woman was active. At first glance, it should be clear that this is a historical person.

For women who worked in the 20th century, a second stylistic line has emerged in parallel, in which ink strongly influences and sometimes restricts the visibility of the portrait - just as the veil of oblivion covers these women.

Description of Status
(Christine de Pizan)

* 1364 in Venice, † 1430 in Poissy
Writer and philosopher. Successful during her lifetime and widely read for the next 150 years.

Widowed at a young age with three children, Christine de Pizan had to take over her deceased husband's household with all its responsibilities. For years, she fought a legal battle against false claims, which she eventually won. It is assumed that she initially worked as a copyist (writing workshop for secular texts), then wrote poetry herself. Later, she mainly wrote treatises on history, biographies, a much-discussed counter-position to a popular, misogynistic novel of the time ("Roman de la Rose" by clerics Jean de Meung, Guillaume de Lorris) and also her own literature. Her best-known work, "The City of the Ladies" (1405), reflects her view of female reality and was read throughout Europe at the time, translated into various languages.

Description of Status (Christine de Pizan)
40 x 120 cm
Oil on canvas with genuine gilding (23.25 ct)

(Work is not yet for sale. If you are interested in being put on the list of interested parties, simply write an email)

Description of Status (self-portrait)

What is a self-portrait doing in this series?

The artist takes this first self-portrait of herself, created in spring 2023, as a starting point for conceiving the portrait of Christine de Pizan. Many self-portraits of the medieval author have also survived: in the form of miniatures in the manuscripts (i.e. her books, as there was no book printing for a long time around 1400). The miniatures always show Christine de Pizan in the widow's costume with the white hennin (the headdress with the two horns and the cloth over it), the blue overdress with the white collar and an underdress (usually brown, as shown here, sometimes also blue). The background of the Pizan portrait is gilded, as was customary in the late Gothic period. The composition is a modern interpretation; the realistically captured facial features were already common in the work of Jan van Eyck (around 1430).

Description of Status (Self portrait)
40 x 120 cm
Oil on canvas

(Work is not yet for sale. If you are interested in being put on the list of interested parties, simply write an email)

Christine de Pizan

* 1364 in Venice, † 1430 in Poissy
Writer and philosopher. Successful during her lifetime and widely read for the next 150 years.

Widowed at a young age with three children, Christine de Pizan had to take over her deceased husband's household with all its responsibilities. For years, she fought a legal battle against false claims, which she eventually won. It is assumed that she initially worked as a copyist (writing workshop for secular texts), then wrote poetry herself. Later, she mainly wrote treatises on history, biographies, a much-discussed counter-position to a popular, misogynistic novel of the time ("Roman de la Rose", Jean de Meung, Guillaume de Lorris) and also her own literature. Her best-known work, "The City of Women" (1405), reflects her view of female reality and was read throughout Europe at the time, translated into various languages.

40 x 120 cm
Oil on canvas with genuine gilding (23.25 ct)

(Work is not yet for sale. If you are interested in being put on the list of interested parties, simply write an email)

Description of Status (self-portrait)

What is a self-portrait doing in this series?

The artist takes this first self-portrait of herself, created in spring 2023, as a starting point for conceiving the portrait of Christine de Pizan. Many self-portraits of the medieval author have also survived: in the form of miniatures in the manuscripts (i.e. her books, as there was no book printing for a long time around 1400). The miniatures always show Christine de Pizan in the widow's costume with the white hennin (the headdress with the two horns and the cloth over it), the blue overdress with the white collar and an underdress (usually brown, as shown here, sometimes also blue). The background of the Pizan portrait is gilded, as was customary in the late Gothic period. The composition is a modern interpretation; the realistically captured facial features were already common in the work of Jan van Eyck (around 1430).

40 x 120 cm
Oil on canvas

(Work is not yet for sale. If you are interested in being put on the list of interested parties, simply write an email)

Trota de Salerno

Trota de Salerno (~1090-1160) was a physician in the south of Italy, in Salerno, where medical knowledge was taught and practiced intensively at the time. Trota de Salerno summarized the knowledge about the female body and the treatment of female ailments in a collection of writings. Over the centuries, the standard work on gynecology, the "Trotula", was compiled with the addition of other parts not written by her. In the meantime, she was "declared" as a man ("Trotulus") in a copy and later as a midwife (instead of a doctor) by a historian of the 19th century.

Neither man nor midwife (2023)
18 x 24 cm
Oil and ink on canvas

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Barbara Strozzi

Barbara Strozzi (1619-1677) was a Venetian composer. Her oeuvre comprises 8 volumes, over 125 individual works of vocal music with up to 5 voices. She wrote the largest number of cantatas composed by one person in the 17th century - and are still popularly sung today. She composed for 20 years (1644-1664). Never married, 3 children, very talented in business - this is how her life is portrayed in recent research.

La Strozzi, corrected (2023)
70 x 70 cm
Oil on canvas, with frame

(Work is not yet for sale. If you are interested in being put on the list of interested parties, simply send an email)

The historical portrait model

During her lifetime, Bernardo Strozzi (Florentine painter, no relation) first painted Barbara Strozzi's father Giulio (around 1635), then her (around 1640) in the form of the goddess "Flora", a common way representing prostitution at the time. Her large breasts are actually also mentioned in letters. The artist painted her own "corrected" version of a portrait based on this model, which is intended to correspond more closely to Barbara Strozzi's later career as a composer. She used the round section to match the portrait of her father.

Barbara's original portrait from 1640 is in the State Collection in Dresden.

Barbara Strozzi

Barbara Strozzi (1619-1677) was a Venetian composer. Her oeuvre comprises 8 volumes, over 125 individual works of vocal music with up to 5 voices. She wrote the largest number of cantatas composed by one person in the 17th century - and are still popularly sung today. She composed for 20 years (1644-1664). Never married, 3 children, very talented in business - this is how her life is portrayed in recent research.

La Strozzi, corrected (2023)
70 x 70 cm
Oil on canvas, with frame

(Work is not yet for sale. If you are interested in being put on the list of interested parties, simply send an email)

The historical portrait model

During her lifetime, Bernardo Strozzi (Florentine painter, no relation) first painted Barbara Strozzi's father Giulio (around 1635), then her (around 1640) in the form of the goddess "Flora", a common way representing prostitution at the time. Her large breasts are actually also mentioned in letters. The artist painted her own "corrected" version of a portrait based on this model, which is intended to correspond more closely to Barbara Strozzi's later career as a composer. She used the round section to match the portrait of her father. Barbara's original portrait from 1640 is in the State Collection in Dresden.

The historical portrait model

During her lifetime, Bernardo Strozzi (Florentine painter, no relation) first painted Barbara Strozzi's father Giulio (around 1635), then her (around 1640) in the form of the goddess "Flora", a common way representing prostitution at the time. Her large breasts are actually also mentioned in letters. The artist painted her own "corrected" version of a portrait based on this model, which is intended to correspond more closely to Barbara Strozzi's later career as a composer. She used the round section to match the portrait of her father. Barbara's original portrait from 1640 is in the State Collection in Dresden.

Flora Tristan

Flora Tristan (1803-1844) was a Peruvian-French activist, socialist and author. She traveled through Europe and criticized the conditions in factories and the poor working conditions for workers.

On the 2nd edition of her work "The Workers' Union" (1843) are the words:
"Ouvriers, unissez vous - l'UNION fait la force."
Workers, unite. UNION is power.

In 1848, Karl Marx published "The Communist Manifesto" with the same publisher. Tristan and Marx were known to each other through this publisher. His motto "Proletarians of all countries unite" is so close to Tristan's saying that it is surprising that we do not (or no longer) know her as the mother of the workers' movements today.

Flora before Karl (2023)
30 x 40 cm
Oil on canvas

(Work is not yet for sale. If you are interested in being put on the list of interested parties, simply write an email)

Inge Lehmann

Inge Lehmann (1888-1993), Danish geophysicist and first female seismologist. She observed deviant waves after a major earthquake in New Zealand in 1929 and proved in 1936 that the earth must have a hard core that deflected the waves. Inge Lehmann researched and published throughout her life, most recently in 1987. In an interview, she once soberly stated: "You must know how many incompetent men I competed with in vain."

It began with an earthquake (2023)
18 x 24 cm
Oil + ink on canvas

(sold)

Inge Lehmann

Inge Lehmann (1888-1993), Danish geophysicist and first female seismologist. She observed deviant waves after a major earthquake in New Zealand in 1929 and proved in 1936 that the earth must have a hard core that deflected the waves. Inge Lehmann researched and published throughout her life, most recently in 1987. In an interview, she once soberly stated: "You must know how many incompetent men I competed with in vain." It began with an earthquake (2023) 18 x 24 cm Oil + ink on canvas (sold)

It began with an Earthquake (2023)
18 x 24 cm
Oil + ink on canvas

(sold)

Henrietta Vansittart-Lowe

Henrietta Vansittart (née Lowe, 1840-1883) was a British engineer. She developed her father's propeller design to patent maturity - without attending formal school or university. Her more efficient propeller model won numerous prizes and helped shipowners to save costs.

There is only one portrait of Henrietta Vansittart-Lowe that is proven to actually depict her: In a newspaper article about her invention, she is pictured next to a miniature model. Of course, this portrait is in black and white. The colored depiction is a free artistic interpretation.

Propellerhead (2023)
30 x 40 cm
Oil and ink on canvas

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Margaret Crane

Margaret Crane, *1941, American graphic designer and inventor of the home pregnancy test. She recognized the potential of a new diagnostic test developed by her employer and invented the prototype for use at home, i.e. without the presence of a doctor - an unthinkable novelty at the time. Her employer completely rejected the concept, but applied for a patent anyway. It was then patented in the USA in 1969.

It was not until 1977 that Crane's invention was marketed in the USA under the name "Predictor". Her employer had offered the use of the patents to various manufacturers free of charge and later forced Margaret Crane to assign the rights to the patents for 1 US dollar. She does not see a penny for her invention, an invention so groundbreaking allowing women all over the world to independently and safely determine pregnancy.

No Pink (2023)
20 x 20 cm
Oil + ink on canvas

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Margaret Crane

Margaret Crane, *1941, American graphic designer and inventor of the home pregnancy test. She recognized the potential of a new diagnostic test developed by her employer and invented the prototype for use at home, i.e. without the presence of a doctor - an unthinkable novelty at the time. Her employer completely rejected the concept, but applied for a patent anyway. It was then patented in the USA in 1969.

It was not until 1977 that Crane's invention was marketed in the USA under the name "Predictor". Her employer had offered the use of the patents to various manufacturers free of charge and later forced Margaret Crane to assign the rights to the patents for 1 US dollar. She does not see a penny for her invention, an invention so groundbreaking allowing women all over the world to independently and safely determine pregnancy.

No Pink (2023)
20 x 20 cm
Oil + ink on canvas

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About the artist

With these portraits, Roxana Panetta is dedicating herself to a series of works for the first time. Prior to this, the self-taught artist mainly presented drawings in ink …

Interview with the artist

Questions about the portrait series of overlooked women "Hidden Championnes"

Where did the idea for this project come from?

There was a specific moment of indignation that triggered it.I first became intensively involved with portrait painting in 2023. During this time, I heard about a composer called Barbara Strozzi on the classical music podcast "Klassik drastisch" with Devid Striesow and Axel Ranisch. Her music and her story fascinated me so much that I wanted to know more and searched the internet, only to discover that the only portrait of her that has survived (or was ever painted) depicts her with her breasts hanging out. I was appalled - this is not how we should see and remember Mrs. Strozzi!

Why then a full series of female portraits?

Young women need role models. These portraits make great women more visible and inspire us to engage with them. I wish these women more visibility - hence the series of portraits. Be part of the change!

The rediscovery of great women in science, art, business and politics has recently become very popular. There are children's books with short biographies of these women. There are television series (Cherchez la femme, ARTE). There is plenty of current literature on the subject (e.g. Vera Weidenbach: The untold history / Die unerzählte Geschichte) ... and not just in our time! As early as the end of the Middle Ages, the biographies and achievements of women became the subject of books, such as Boccaccio's "Of Illustrious Women" (De claris mulieribus, ca. 1360), which was taken up shortly afterwards by Christine de Pizan (in: The City of Women, ca. 1405) and later again by Louise-Félicité de Kéralio (18th century) ... the list can be continued right up to the present day. The number of names I have never heard of made me wonder and curious at the same time.

Have women not been portrayed sufficiently? All great artists have painted women.

That's right: women were and are painted a lot.As objects of the male gaze, as service providers for the intellectual satisfaction of physical desires, as muses, as representatives. I would like to paint women whose achievements and contribution to the history of civilization I can appreciate in this way - and for whom I know of no portrait or have found none. There are many women we simply don't know because their faces have disappeared.

How do you find these interesting women?

By chance at first. Now I look specifically. I'm no different to most people: I know what I come across in life.Be it on television or radio, in museums, perhaps by chance in a novel that contains historical figures, in a conversation, perhaps from school lessons. So in the vast majority of cases, it is a chance encounter. The women I am now introducing have been acquired by reading the relevant specialist literature.I am now also familiar with a number of podcasts and blogs that deal intensively with this topic.

Which other women do you plan to paint?

Many! The next women are already in the pipeline, including the mathematician Emmy Noether, without whom Einstein would not have been able to formulate the theory of relativity mathematically, and the physicist Emilie du Châtelet, who is only remembered - if at all - as Voltaire's mistress. My list is now very long. And my curiosity grows with every biography I read in order to get to know the woman. This series will certainly keep me busy for several years to come.

How long does the research take?

It depends.

With some women, I quickly get a feel for the situation and an idea for a portrait arises immediately. With others, I have a strong need to take a closer look at what the woman has created. To put it in figures: I've spent anywhere from half a day to several weeks researching. Part of this is also due to my curiosity; I don't necessarily need everything I research for my artistic exploration.Why don't you paint any women from the current era?

Why don't you paint women from the current era?

You mean not yet *wink*

I would like to get to know living women personally and only then paint them, not from pictures as I have been doing so far. Who knows when I'll get to that point. In any case, I'm already looking forward to it!

Why don't you portray men?

Spontaneously, I would say: because they are well known. But it's still an interesting question. Who knows what working on women's biographies does to me and my expression artistically. In the future, it may well be that I also portray overlooked or misperceived men. For now I don't want to rule it out.

Which women don't make it onto your canvas?

So far, I've only had one case where I found a CV extremely interesting, but then on closer examination I got the impression of a narrow-minded person. This woman is still on my mind insofar as she perhaps makes me aware of my own bias, my own prejudices and narrow-mindedness.

What appeals to you about classical painting techniques? Why don't you create these works digitally and with the help of AI?

Uh. That's not an easy question to answer.

If I think about it more carefully, I suspect that generative AI models, trained on historical image data from (European) art history, would only end up reproducing breasts hanging out again.

Why oil and canvas instead of digital is a legitimate aspect of this question.

On the one hand, I still believe, just as Walter Benjamin stated with the advent of mass printing, in the aura of a painted work of art, which is unique and cannot be copied due to its nature, its imperfection. Digital images do not reach me with the same intensity.In a digital environment, as in the VR situation, it may be different. I'm already working with it, but not yet productively, if you like. On the other hand, it was important to me in the series to fill or correct the art historical gaps or "misrepresentations" (as with Barbara Strozzi) - to create a "real" historical impression.

I imagine how different the halls of venerable art museums such as the National Portrait Gallery in London, the Prado in Madrid or the Städel Museum in Frankfurt would look if more women were to be seen there, representing themselves and their concerns. A self-confident Barbara Strozzi among 17th century portrait paintings of clerics, noblemen and others: It would stand out and we would become aware that there have always been women who decided and stood up for a cause against social conventions. So in these rooms it has to be oil and canvas. In other spatial situations, I can certainly imagine the use of digital means.

How much do you identify with your motif?

Probably no more or less than an actress working her way into a role:I immerse myself in the woman's world, try to empathize with what played a role in her situation.In this phase, I am very close to the woman in order to understand her.