The first monograph on the artist to be published in English, this book provides a long-overdue introduction to the life and work of Portuguese painter Josefa de Ayala, known as Josefa de Óbidos (1630-1684). One of the best known and most celebrated artists of the Portuguese baroque, she is the only early modern female artist to be credited with representing the art of a whole period and a geographical area. Her paintings encompass a diversity of religious and secular subjects in a variety of formats, from portraits to still lifes; small oils on copper to large church altarpieces; seemingly ‘feminine’ themes revolving around the Virgin Mary and female saints to gruesome portrayals of the Passion of Christ. Her oeuvre also includes engravings.Josefa de Óbidos enjoyed a level of artistic and personal autonomy that was extraordinary for a woman of her day. She never married, and kept her own workshop after attaining the legal title of 'donzela emancipada' (emancipated maiden), which allowed for her independence. In addition to working as an artist, she was a successful businesswoman and landowner. Documentation at the time of her death indicates that she owned, in addition to her personal residence, a remarkable number of country houses, vineyards, and orchards, as well as yields from wheat and barley.This timely study situates the artist within the context of the Iberian and broader European artistic milieux of her time, the careers and experiences of other early modern women artists, and the material culture of Portugal’s global territories, bringing Josefa de Óbidos’ artistic achievement and transnational character to light.

The first monograph on the artist to be published in English, this book provides a long-overdue introduction to the life and work of Portuguese painter Josefa de Ayala, known as Josefa de Óbidos (1630-1684). One of the best known and most celebrated artists of the Portuguese baroque, she is the only early modern female artist to be credited with representing the art of a whole period and a geographical area. Her paintings encompass a diversity of religious and secular subjects in a variety of formats, from portraits to still lifes; small oils on copper to large church altarpieces; seemingly ‘feminine’ themes revolving around the Virgin Mary and female saints to gruesome portrayals of the Passion of Christ. Her oeuvre also includes engravings.Josefa de Óbidos enjoyed a level of artistic and personal autonomy that was extraordinary for a woman of her day. She never married, and kept her own workshop after attaining the legal title of 'donzela emancipada' (emancipated maiden), which allowed for her independence. In addition to working as an artist, she was a successful businesswoman and landowner. Documentation at the time of her death indicates that she owned, in addition to her personal residence, a remarkable number of country houses, vineyards, and orchards, as well as yields from wheat and barley.This timely study situates the artist within the context of the Iberian and broader European artistic milieux of her time, the careers and experiences of other early modern women artists, and the material culture of Portugal’s global territories, bringing Josefa de Óbidos’ artistic achievement and transnational character to light.

The first monograph on the artist to be published in English, this book provides a long-overdue introduction to the life and work of Portuguese painter Josefa de Ayala, known as Josefa de Óbidos (1630-1684). One of the best known and most celebrated artists of the Portuguese baroque, she is the only early modern female artist to be credited with representing the art of a whole period and a geographical area. Her paintings encompass a diversity of religious and secular subjects in a variety of formats, from portraits to still lifes; small oils on copper to large church altarpieces; seemingly ‘feminine’ themes revolving around the Virgin Mary and female saints to gruesome portrayals of the Passion of Christ. Her oeuvre also includes engravings.Josefa de Óbidos enjoyed a level of artistic and personal autonomy that was extraordinary for a woman of her day. She never married, and kept her own workshop after attaining the legal title of 'donzela emancipada' (emancipated maiden), which allowed for her independence. In addition to working as an artist, she was a successful businesswoman and landowner. Documentation at the time of her death indicates that she owned, in addition to her personal residence, a remarkable number of country houses, vineyards, and orchards, as well as yields from wheat and barley.This timely study situates the artist within the context of the Iberian and broader European artistic milieux of her time, the careers and experiences of other early modern women artists, and the material culture of Portugal’s global territories, bringing Josefa de Óbidos’ artistic achievement and transnational character to light.