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Irene Parenti Duclos
Irene Parenti Duclos (or Irene Parenti, or her academic nickname Lala Cicicena) (1754–1795) was an Italian painter and poet. Her work as an expert copyist of old master paintings was highly valued in her era, and brought her honors from several Italian art academies. Moreover, she achieved particular renown as a pioneer in the revival of encaustic painting.
==Career as a Copyist and Encaustic Painter==
Irene Parenti Duclos was the daughter of Tuscan painter Giuseppe Parenti, under whom she presumably received her earliest professional training. The first documented notice of Irene Parenti Duclos' painting activity is her 1773 petition to make painted replicas of works in Florence's Uffizi Gallery, where both male and female artists were permitted to set up their easels in its halls and copy after old master paintings and ancient marble statues.〔Sheila Barker, "Irene Parenti Duclos’s Copy of the Madonna del Sarto: Politics
and Perfect Painting," in ''Irene Parenti Duclos:'' ''A Work Restored—An Artist Revealed,'' ed. Linda Falcone (Florence: The Florentine Press, 2011), p. 28.〕 Between 1773 and 1793, Duclos executed thirty-nine oil copies at the Uffizi, largely in response to the market demand for replicas from British Grand Tourists.〔Ibid. pp. 29-34; and Sheila Barker, "Studied Skills, Innate Talents: Women Artists at Work in the Uffizi" in Jane Fortune, ''Invisible Women'':'' Forgotten Artists of Florence'' (Florence: The Florentine Press, 2010), p. 111.〕 In addition to conventional oil painting, Duclos practiced the ancient technique of encaustic painting, a rare skill she had learned while in Bologna in 1784-85 from the Spanish Jesuit antiquarian José María Pignatelli (who was canonized much later in 1954).〔''Tomo ventesimo delle Gazzette Toscane uscite settimana per settimana nell'anno 1785'' (Florence:
Anton-Giuseppe Pagani, 1785), 15 January 1785, p. 10; and Vincenzo Requeno, ''Saggi sul ristabilimento dell'antica arte de' greci e romani pittori'' (Parma: Stamperia Reale, 1787) vol. 1. pp. 350-1, 383.〕 Her achievements in this new field of encaustic painting brought Duclos rapid fame and her works in this technique garnered high prices.〔"D'un ritrovamento fatto a Napoli, che è cosa vecchia in Firenze," ''Nuovo giornale de' lettererati'' (Pisa: Sebastiano Nistri, 1836), vol. 12, p. 147.〕 In 1785, Duclos' encaustic paintings were shown to English painter Emma Jane Greenland while the latter was visiting in Florence in 1785; Greenland would go on to publicize the technique in England.〔Letter of Emma Jane Greenland to Edmund Burke dated Nov. 14, 1786, in Edmund Burke, ed., ''The Annual Register, or a View of History, Politics and Literature for the Year 1787'', 2nd ed. (London: J. Dodsley, 1789), pp. 82-3. 〕 A member of the art academies of Rome〔Annarita Caputo, "A Fondness for Copying: Tastes and Practices during Irene Parenti Duclos’s Time," in ''Irene Parenti Duclos:'' ''A Work Restored—An Artist Revealed'', ed. Linda Falcone (Florence: The Florentine Press, 2011), pp. 20-21.〕 and Bologna〔''Tomo ventesimo delle Gazzette Toscane uscite settimana per settimana nell'anno 1785'' (Florence: Anton-Giuseppe Pagani, 1785), 15 January 1785, p. 10. 〕 as well as an "Accademico Professore" in Florence’s Accademia del Disegno since 1783,〔''Gazzetta Toscana'' 1783, n.4 (25 January 1783), p.14. She was referred to as "la Sig. Irene da Clos ne' Parenti Pittrice Fiorentina;" also, Giovanna Giusti, entry for "Autorritratto 1783," in Giovanna Giusti, ed. ''Autoritratte: Artiste di capriccioso e destrissimo ingegno''. ‘''I Mai Visti’, Sala delle Reali Poste 17 dicembre 2010-30 gennaio 2011.'' Florence: Polistampa, 2010, cat. no. 17, p. 62.〕 Duclos was additionally recognized for her poetic talents with an induction into the literary circle of the Accademia degli Arcadi.〔Maria Giorgetti Vichi, ''Gli Arcadi dal 1690 al 1800 Onomasticon'' (Rome, 1977).〕
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