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</html><thumbnail_url>https://www.tamaraferioli.it/wp-content/uploads/2025/03/Invito-Pittrici-1.jpg</thumbnail_url><thumbnail_width>1600</thumbnail_width><thumbnail_height>1600</thumbnail_height><description>March 6 &#x2013; April 6, 20256:00 PM &#x2013; 9:30 PMTuri Studios, Foro Buonaparte 70, Milan By definition, anyone who paints is a painter, whether professional or amateur. When a woman paints, she becomes a painter. This exhibition, &#x201C;PAINTERS&#x201D;, celebrates and enhances one of the most difficult roles for a woman to conquer, a complex and often hindered path throughout history. Being a painter, in fact, is not just a profession, but one of the most fought-over rights that a woman, as such, feels the need to defend for herself and to affirm her nature and identity. A faculty conquered through centuries of battles for artistic and social recognition. A look at the past To understand the significance of this conquest, we must go back in time and mention Lavinia Fontana (1552-1614), recognized as the first professional female artist in the history of Western art. Her famous &#x201C;Self-Portrait in the Studio&#x201D; (1579, painted on copper) portrays her in her work environment, intent on copying from life two small sculptures, archaeological finds of which she was a collector. Her posture, elegant clothes and precious accessories testify not only to her humanistic culture, but also to her affirmation as an independent professional. Lavinia [&#x2026;]</description></oembed>
