Father and daughter Orazio and Artemisia Gentileschi were unusual and gifted artists. Orazio Gent... more Father and daughter Orazio and Artemisia Gentileschi were unusual and gifted artists. Orazio Gentileschi (1563-1639) was the most talented follower of Caravaggio and a figure of international renown, active at the courts of Marie de' Medici in France, Charles 1 in England, and in Rome, Genoa, and Turin. Artemisia (1593-1652/3) was the first Italian woman artist who was not only praised for her art by her contemporaries but whose paintings influenced the work of later generations. She is today a key figure in gender studies. Essays by an international group of art historians not only explore the development of each of these two painters individually but also compare their work, showing how both were influenced by their times and milieus. The book also includes new transcriptions of key parts of the notorious rape trial of Artemisia. This beautiful book is the catalogue for the first full-scale exhibition of the works of Orazio and Artemisia Gentileschi, held at The Metropolitan Museum of Art from 14th February to 12th May 2002, travelling thereafter to the St Louis Art Museum and to Rome.
of a spiritual reality indirectly showing in poetry, painting, or sculpture, but it also marks it... more of a spiritual reality indirectly showing in poetry, painting, or sculpture, but it also marks its own logical character as a characteristic of the intellectual nature of the represented spiritual world. The scholarly work often stands to its studied object in a relation of analogy to the proposed meaning. To my mind, the rhetorical apparatus is not enough. Against Lehmann’s conceptual interpretation, I put the meaning structure that I suggest in my recent contribution, ‘‘The Apparition of Faith, The Performative Meaning of Gian Lorenzo Bernini’s Decoration for the Cornaro Chapel,’’ in the anthology Performativity and Performance in Baroque Rome (Ashgate, 2012). The point of this interpretation is to focus on the bodily and appearing aspects of performed meaning opening toward the comprehensions of human life after death a state that is not only of the soul, but occurring in the recreated body that will regain its individual soul. The idea is to become aware of the interplay between the signifying elements: the expressive part, the part carrying the reference act, discloses the meaning or thought implied, but this spiritual element that becomes known through the expression retains or recreates body, in Bernini’s work. Meaning never escapes the appearance and functions of body a dimension that is not fundamentally readable, yet knowable.
... und 18.Jahrhunderts, Budapest, 1974, I, 260, lists this painting under the category &... more ... und 18.Jahrhunderts, Budapest, 1974, I, 260, lists this painting under the category "Maria als Mutter, beim Ndihen." Bellori (as in n. 10), 503, notes that the angel on the left displays "un sciugatore per uso del Bambino ...," assuming this to be an image of the Virgin after the ...
This chapter examines four of Barocci’s altarpieces that effectively and resourcefully employ dog... more This chapter examines four of Barocci’s altarpieces that effectively and resourcefully employ dogs to reveal new levels of meaning in their subjects. These include The Martyrdom of St. Sebastian, where a dog curls up on Sebastian’s abandoned cloak; The Martyrdom of St. Vitalis, where a dog reacts to the arrival of a lizard; The Last Supper, where a dog considers drinking from a wine cooler; and The Institution of the Eucharist, with a dog who accompanies the foreground servants as they depart the scene. An examination of the ingenious incorporation of a dog in these four pictures underscores Barocci’s importance as one of the first original iconographers of the Counter-Reformation.
Early Modern Women-an Interdisciplinary Journal, 2019
"Introduction: What is True About Artemisia?" by Sheila Barker; "Ident... more "Introduction: What is True About Artemisia?" by Sheila Barker; "Identifying Artemisia: The Archive and the Eye" by Mary D. Garrard; "Mary Magdalene in Ecstasy and the Madonna of the Svezzamento: Two Masterpieces by Artemisia" by Gianni Papi "Deciphering Artemisia: Three New Narratives and How They Expand our Understanding" by Judith W. Mann "Unknown Paintings by Artemisia in Naples, and New Points Regarding Her Daily Life and Bottega" by Riccardo Lattuada "Artemisia Gentileschi’s Susanna and the Elders (1610) in the Context of Counter-Reformation Rome" by Patricia Simons "Artemisia’s Money: A Woman Artist’s Financial Strategies in Seventeenth-Century Florence" by Sheila Barker "Artemisia Gentileschi: The Literary Formation of an Unlearned Artist" by Jesse Locker "Women Artists in Casa Barberini: Plautilla Bricci, Maddalena Corvini, Artemisia Gentileschi, Anna Maria Vaiani, and Virginia da Vezzo" by Consuelo Lollobrigida "‘Il Pennello Virile’: Elisabetta Sirani and Artemisia Gentileschi as Masculinized Painters?" by Adelina Modesti "Allegories of Inclination and Imitation at the Casa Buonarroti" by Laura Camille Agoston "Mary Magdalene in Ecstasy by Artemisia Gentileschi. A Technical Study" by Christina Currie, Livia Depuydt, Valentine Henderiks, Steven Saverwyns, and Ina Vanden Berghe
Father and daughter Orazio and Artemisia Gentileschi were unusual and gifted artists. Orazio Gent... more Father and daughter Orazio and Artemisia Gentileschi were unusual and gifted artists. Orazio Gentileschi (1563-1639) was the most talented follower of Caravaggio and a figure of international renown, active at the courts of Marie de' Medici in France, Charles 1 in England, and in Rome, Genoa, and Turin. Artemisia (1593-1652/3) was the first Italian woman artist who was not only praised for her art by her contemporaries but whose paintings influenced the work of later generations. She is today a key figure in gender studies. Essays by an international group of art historians not only explore the development of each of these two painters individually but also compare their work, showing how both were influenced by their times and milieus. The book also includes new transcriptions of key parts of the notorious rape trial of Artemisia. This beautiful book is the catalogue for the first full-scale exhibition of the works of Orazio and Artemisia Gentileschi, held at The Metropolitan Museum of Art from 14th February to 12th May 2002, travelling thereafter to the St Louis Art Museum and to Rome.
of a spiritual reality indirectly showing in poetry, painting, or sculpture, but it also marks it... more of a spiritual reality indirectly showing in poetry, painting, or sculpture, but it also marks its own logical character as a characteristic of the intellectual nature of the represented spiritual world. The scholarly work often stands to its studied object in a relation of analogy to the proposed meaning. To my mind, the rhetorical apparatus is not enough. Against Lehmann’s conceptual interpretation, I put the meaning structure that I suggest in my recent contribution, ‘‘The Apparition of Faith, The Performative Meaning of Gian Lorenzo Bernini’s Decoration for the Cornaro Chapel,’’ in the anthology Performativity and Performance in Baroque Rome (Ashgate, 2012). The point of this interpretation is to focus on the bodily and appearing aspects of performed meaning opening toward the comprehensions of human life after death a state that is not only of the soul, but occurring in the recreated body that will regain its individual soul. The idea is to become aware of the interplay between the signifying elements: the expressive part, the part carrying the reference act, discloses the meaning or thought implied, but this spiritual element that becomes known through the expression retains or recreates body, in Bernini’s work. Meaning never escapes the appearance and functions of body a dimension that is not fundamentally readable, yet knowable.
... und 18.Jahrhunderts, Budapest, 1974, I, 260, lists this painting under the category &... more ... und 18.Jahrhunderts, Budapest, 1974, I, 260, lists this painting under the category "Maria als Mutter, beim Ndihen." Bellori (as in n. 10), 503, notes that the angel on the left displays "un sciugatore per uso del Bambino ...," assuming this to be an image of the Virgin after the ...
This chapter examines four of Barocci’s altarpieces that effectively and resourcefully employ dog... more This chapter examines four of Barocci’s altarpieces that effectively and resourcefully employ dogs to reveal new levels of meaning in their subjects. These include The Martyrdom of St. Sebastian, where a dog curls up on Sebastian’s abandoned cloak; The Martyrdom of St. Vitalis, where a dog reacts to the arrival of a lizard; The Last Supper, where a dog considers drinking from a wine cooler; and The Institution of the Eucharist, with a dog who accompanies the foreground servants as they depart the scene. An examination of the ingenious incorporation of a dog in these four pictures underscores Barocci’s importance as one of the first original iconographers of the Counter-Reformation.
Early Modern Women-an Interdisciplinary Journal, 2019
"Introduction: What is True About Artemisia?" by Sheila Barker; "Ident... more "Introduction: What is True About Artemisia?" by Sheila Barker; "Identifying Artemisia: The Archive and the Eye" by Mary D. Garrard; "Mary Magdalene in Ecstasy and the Madonna of the Svezzamento: Two Masterpieces by Artemisia" by Gianni Papi "Deciphering Artemisia: Three New Narratives and How They Expand our Understanding" by Judith W. Mann "Unknown Paintings by Artemisia in Naples, and New Points Regarding Her Daily Life and Bottega" by Riccardo Lattuada "Artemisia Gentileschi’s Susanna and the Elders (1610) in the Context of Counter-Reformation Rome" by Patricia Simons "Artemisia’s Money: A Woman Artist’s Financial Strategies in Seventeenth-Century Florence" by Sheila Barker "Artemisia Gentileschi: The Literary Formation of an Unlearned Artist" by Jesse Locker "Women Artists in Casa Barberini: Plautilla Bricci, Maddalena Corvini, Artemisia Gentileschi, Anna Maria Vaiani, and Virginia da Vezzo" by Consuelo Lollobrigida "‘Il Pennello Virile’: Elisabetta Sirani and Artemisia Gentileschi as Masculinized Painters?" by Adelina Modesti "Allegories of Inclination and Imitation at the Casa Buonarroti" by Laura Camille Agoston "Mary Magdalene in Ecstasy by Artemisia Gentileschi. A Technical Study" by Christina Currie, Livia Depuydt, Valentine Henderiks, Steven Saverwyns, and Ina Vanden Berghe
"Introduction: What is True About Artemisia?" by Sheila Barker;
"Identifying Artemisia: The Ar... more "Introduction: What is True About Artemisia?" by Sheila Barker;
"Identifying Artemisia: The Archive and the Eye" by Mary D. Garrard;
"Mary Magdalene in Ecstasy and the Madonna of the Svezzamento: Two Masterpieces by Artemisia" by Gianni Papi
"Deciphering Artemisia: Three New Narratives and How They Expand our Understanding" by Judith W. Mann
"Unknown Paintings by Artemisia in Naples, and New Points Regarding Her Daily Life and Bottega" by Riccardo Lattuada
"Artemisia Gentileschi’s Susanna and the Elders (1610) in the Context of Counter-Reformation Rome" by Patricia Simons
"Artemisia’s Money: A Woman Artist’s Financial Strategies in Seventeenth-Century Florence" by Sheila Barker
"Artemisia Gentileschi: The Literary Formation of an Unlearned Artist" by Jesse Locker
"Women Artists in Casa Barberini: Plautilla Bricci, Maddalena Corvini, Artemisia Gentileschi, Anna Maria Vaiani, and Virginia da Vezzo" by Consuelo Lollobrigida
"‘Il Pennello Virile’: Elisabetta Sirani and Artemisia Gentileschi as Masculinized Painters?" by Adelina Modesti
"Allegories of Inclination and Imitation at the Casa Buonarroti" by Laura Camille Agoston
"Mary Magdalene in Ecstasy by Artemisia Gentileschi. A Technical Study" by Christina Currie, Livia Depuydt, Valentine Henderiks, Steven Saverwyns, and Ina Vanden Berghe
Review of Peter Grillgren's book, Siting Federico Barocci and the Renaissance Aesthetic, Ashgate,... more Review of Peter Grillgren's book, Siting Federico Barocci and the Renaissance Aesthetic, Ashgate, 2011
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"Identifying Artemisia: The Archive and the Eye" by Mary D. Garrard;
"Mary Magdalene in Ecstasy and the Madonna of the Svezzamento: Two Masterpieces by Artemisia" by Gianni Papi
"Deciphering Artemisia: Three New Narratives and How They Expand our Understanding" by Judith W. Mann
"Unknown Paintings by Artemisia in Naples, and New Points Regarding Her Daily Life and Bottega" by Riccardo Lattuada
"Artemisia Gentileschi’s Susanna and the Elders (1610) in the Context of Counter-Reformation Rome" by Patricia Simons
"Artemisia’s Money: A Woman Artist’s Financial Strategies in Seventeenth-Century Florence" by Sheila Barker
"Artemisia Gentileschi: The Literary Formation of an Unlearned Artist" by Jesse Locker
"Women Artists in Casa Barberini: Plautilla Bricci, Maddalena Corvini, Artemisia Gentileschi, Anna Maria Vaiani, and Virginia da Vezzo" by Consuelo Lollobrigida
"‘Il Pennello Virile’: Elisabetta Sirani and Artemisia Gentileschi as Masculinized Painters?" by Adelina Modesti
"Allegories of Inclination and Imitation at the Casa Buonarroti" by Laura Camille Agoston
"Mary Magdalene in Ecstasy by Artemisia Gentileschi. A Technical Study" by Christina Currie, Livia Depuydt, Valentine Henderiks, Steven Saverwyns, and Ina Vanden Berghe