With a Delightful Series of Self-Portraits, Elisabetta Zangrandi Paints Herself Into the History of Art
An intriguing exhibition titled “Musée Imaginaire” opened earlier this month in Sag Harbor, Long Island. This unique show features 15 portraits by the self-taught artist Elisabetta Zangrandi, a relatively obscure figure who resides near Verona, Italy—the same city immortalized as the setting of Shakespeare’s “Romeo and Juliet.” Born just like Maurizio Cattelan in 1960 in Italy, Elisabetta Zangrandi captures attention through her vibrant reinterpretations of historic self-portraits by women artists from nearly a millennium.
The Artistic Legacy Revisited
Zangrandi’s “Musée Imaginaire” playfully engages with art history, focusing on iconic self-portraits by female artists. Her works span the gamut from Guda’s 12th-century depiction to Frida Kahlo and Alice Neel in the 20th century. Among her reinterpretations is a piece inspired by Paula Modersohn-Becker’s “Self Portrait with Two Flowers,” showcasing Zangrandi’s unique artistic voice.
A Journey Through Self-Portraiture
- Guda’s 12th-century self-portrait – Possibly the earliest signed self-portrait by a woman in Western Europe, housed within her Book of Homilies.
- Catharina van Hemessen (1548) – Believed to be the first depiction of an artist at work with palette and easel.
- Artemisia Gentileschi and Élisabeth Vigée Le Brun – Both 17th-century artists renowned for their strong, vivid depictions of themselves.
- Frida Kahlo and Alice Neel** – Twentieth-century pioneers who challenged norms through their evocative self-portraits.
Transforming Keyes Art Gallery
Zangrandi, who began her artistic journey by painting on rocks during childhood, transforms the Keyes Art gallery into an alternative feminist museum. Her series not only celebrates these historic figures but also integrates herself within their legacy.
The Curatorial Vision
Curated by Alison M. Gingeras, known for her insightful and art historically cheeky works like “Pictures Girls Make,” the exhibition draws its name from a quip by Willem de Kooning. This title serves as a feminist assertion of the significance of women artists through history, challenging long-held biases in art education.
Alison Gingeras on “Musée Imaginaire”
Gingeras shared how the exhibition came to be: “When Elisabetta sent me a work inspired by [Diego Velázquez’s] Las Meninas, it struck a chord. She inserted her own authorship into these historical paintings and turned them into veiled self-portraits.”
Exploring Feminism in Art
Gingeras has been focusing on women artists for years, a passion that began around 2014. Her journey into feminist art history was sparked by noticing the gender imbalance in her previous work and recognizing the need to explore “the bad girls” of art—those who pioneered genres yet remained underrepresented.
Forward-Thinking Exhibitions
Gingeras is also developing a significant exhibition, “The Woman Question: Artist and Agency (1550-2025),” set to open in Warsaw. This project aims to explore the role of women artists across centuries.
The Broader Impact
Zangrandi’s exhibition at Keyes Art, running through June 26, is more than just a showcase—it’s an invitation to reconsider and celebrate the contributions of women in art. It challenges visitors to think about how these historic figures relate to contemporary feminist discourses and artistic practices.
Through her vibrant reinterpretations, Zangrandi not only honors her predecessors but also asserts her own place in this rich tapestry of art history. As we look forward to more exhibitions like “Musée Imaginaire,” it’s clear that Elisabetta Zangrandi is painting herself—and women artists alike—into the annals of history with bold strokes and bright colors.