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A beautifully illustrated study of the life and works of this influential seventeenth-century woman artist, including the first catalogue raisonne of her autograph works.
An important reassessment of the later career and life of a beloved baroque artist Hailed as one of the most influential and expressive painters of the seventeenth century, Artemisia Gentileschi (1593–ca. 1656) has figured prominently in the art historical discourse of the past two decades. This attention to Artemisia, after many years of scholarly neglect, is partially due to interest in the dramatic details of her early life, including the widely publicized rape trial of her painting tutor, Agostino Tassi, and her admission to Florence’s esteemed Accademia del Disegno. While the artist’s early paintings have been extensively discussed, her later work has been largely dismissed. This beautifully illustrated and elegantly written book provides a revolutionary look at Artemisia’s later career, refuting longstanding assumptions about the artist. The fact that she was semi-illiterate has erroneously led scholars to assume a lack of literary and cultural education on her part. Stressing the importance of orality in Baroque culture and in Artemisia’s paintings, Locker argues for her important place in the cultural dialogue of the seventeenth century.
Examined through the lens of cutting-edge scholarship, Artemisia Gentileschi clears a pathway for non-specialist audiences to appreciate the artist's pictorial intelligence, as well as her achievement of a remarkably lucrative and high-profile career. Bringing to light recent archival discoveries and newly attributed paintings, this book ......
This beautiful book presents the work of these two painters, exploring the artistic development of each, comparing their achievements and showing how both were influenced by their times and the milieus in which they worked.
The fiftieth anniversary edition of the essay that is now recognized as the first major work of feminist art theory—published together with author Linda Nochlin’s reflections three decades later. Many scholars have called Linda Nochlin’s seminal essay on women artists the first real attempt at a feminist history of art. In her revolutionary essay, Nochlin refused to answer the question of why there had been no “great women artists” on its own corrupted terms, and instead, she dismantled the very concept of greatness, unraveling the basic assumptions that created the male-centric genius in art. With unparalleled insight and wit, Nochlin questioned the acceptance of a white male viewpoint in art history. And future freedom, as she saw it, requires women to leap into the unknown and risk demolishing the art world’s institutions in order to rebuild them anew. In this stand-alone anniversary edition, Nochlin’s essay is published alongside its reappraisal, “Thirty Years After.” Written in an era of thriving feminist theory, as well as queer theory, race, and postcolonial studies, “Thirty Years After” is a striking reflection on the emergence of a whole new canon. With reference to Joan Mitchell, Louise Bourgeois, Cindy Sherman, and many more, Nochlin diagnoses the state of women and art with unmatched precision and verve. “Why Have There Been No Great Women Artists?” has become a slogan and rallying cry that resonates across culture and society. In the 2020s, Nochlin’s message could not be more urgent: as she put it in 2015, “There is still a long way to go.”
"Violence and Virtue examines a single, uniquely powerful painting: Judith Slaying Holofernes by Artemisia Gentileschi. A quintessential example of early Baroque painting, this work has, more than any other picture in her oeuvre, come to define Gentileschi as an early modern woman and a superb Baroque painter. Eve Straussman-Pflanzer explores the circumstances surrounding the painting's creation and the meanings conveyed by the image itself. Among other topics of investigation, the author addresses the role of women artists and patrons in the 17th century and the fascination with violence and the importance of female heroes during the Baroque era. A comparative analysis between Gentileschi's masterpiece and other paintings and works on paper by artists such as Caravaggio, Botticelli, Cristofano Allori, and Felice Ficherelli, among others, testifies to the importance of Gentileschi's portrayal of the heroine Judith"--
"Susan Vreeland set a high standard with Girl in Hyacinth Blue.... The Passion of Artemisia is even better.... Vreeland's unsentimental prose turns the factual Artemisia into a fictional heroine you won't soon forget." —People A true-to-life novel of one of the few female post-Renaissance painters to achieve fame during her own era against great struggle. Artemisia Gentileschi led a remarkably "modern" life. Vreeland tells Artemisia's captivating story, beginning with her public humiliation in a rape trial at the age of eighteen, and continuing through her father's betrayal, her marriage of convenience, motherhood, and growing fame as an artist. Set against the glorious backdrops of Rome, Florence, Genoa, and Naples, inhabited by historical characters such as Galileo and Cosimo de' Medici II, and filled with rich details about life as a seventeenth-century painter, Vreeland creates an inspiring story about one woman's lifelong struggle to reconcile career and family, passion and genius.
"The first comprehensive examination of Gentileschi's art and its pan-European influence, this interpretive study reveals how his art responded to changing artistic tastes and sociocultural influences and dispels the myth that his exquisite paintings came only from "the tip of his brush." It does so by addressing his deliberate stylistic/expressive decisions in considering subject matter, didactic function, scale, medium, physical location, and patronage. Orazio Gentileschi is presented here as the foremost painter among Caravaggio's Roman "followers," and one of the great Italian painters of the seventeenth century. Much of the text is built around events in Gentileschi's personal life--the departure from Rome of Caravaggio (under indictment for murder); the trial of Agostino Tassi (also a painter) for the rape of Orazio's daughter, Artemisia (a well known artist in her own right); a call to France by Marie de'Medici; an invitation to England from the Duke of Buckingham and King Charles I (where he became an official court painter)--since it was by them, above all, that his career was shaped. The book includes a lengthy Catalogue Raisonne encompassing autograph works, lost works, questionable attributions, and incorrect attributions; appendices summarizing over 100 documents (many not previously cited) concerning Orazio's life and work; and an extensive collection of photographs showing all of Gentileschi's preserved works (canvases, panels, frescoes, mosaics) plus a considerable number of "doubtful" and comparative paintings. Reviewers have commented that "Bissell ... has made recent important archival discoveries"; that "never before have Orazio Gentileschi's work been approached on a comparable level.""--Publisher's description.
'Reclaiming Feminine Agency' identifies female agency as a central theme of recent feminist scholarship & offers 23 essays on artists & issues from the Renaissance to the present, written in the 1990s & after.