Artemisia Gentileschi Around 1622: The Shaping and Reshaping of an Artistic Identity"In this admirable work, at once passionately argued and lucidly written, Professor Garrard effectively considers the social, psychological, and formal complexity of the shaping and reshaping not only of the artist's feminine and feminist identity in the misogynistic society of the seventeenth century, but also of that identity in the discipline of art history today."—Steven Z. Levine, author of Monet, Narcissus, and Self-Reflection "Mary Garrard's detailed investigation into attribution problems in two Artemisia Gentileschi paintings brilliantly interweaves connoisseurship, constructions of gender and artistic identity, and historical analysis. The result is a richer and more nuanced vision of the best-known female artist in western history before the modern era, and an important contribution to feminist studies." —Whitney Chadwick, author of Women, Art, and Society "In her new book, Garrard has taken two bold steps that challenge much received opinion in the 'discipline' of art history. Analyzing two of Gentileschi's least violent but most moving images, Garrard argues that the painter's personality is discernible no less in the subjects and their interpretation than in the 'style' of the works; consideration of both aspects is essential to understanding the meaning of these extraordinary pictures and her authorship. Perhaps even more important, Garrard makes crystal clear that Artemisia Gentileschi, far from a 'good woman painter,' was one of the major visual thinkers of her time."—Irving Lavin, co-author with Marilyn Aronberg Lavin, of La Liturgia d'Amore: Immagini dal Canto dei Cantici nell'arte di Cimabue, Michelangelo, e Rembrandt (Modena, 2000) "Developing her earlier methodologies and revising some conclusions, Garrard clarifies her distinct theoretical approach and voice among feminist critiques of art history. In this text, which reads in part like a forensic mystery, Garrard builds not only an argument for attributions of particular works, but a new understanding of Gentileschi herself at a particular moment in history."—Hilary Robinson, editor of Visibly Female: Feminism and Art Today "One of our most distinguished feminist art historians brings contemporary gender studies to bear on traditional paintings connoisseurship to show how attributions to female artists have often been governed by tacit cultural assumptions about the limitations of women. Her case makes compelling reading for anyone interested in early modern society, culture, women and art in Italy, and in the problematics of feminism and art history."—Kathleen Weil-Garris Brandt, author of Leonardo e la Scultura "By revealing a great woman painter's ways of expressing uniqueness while negotiating expectations, Mary Garrard helps each of us with the subtleties of remaining authentic while living in the world. Artemisia Gentileschi around 1622 is art history to live by."—Gloria Steinem |
Contents
Gender and the Social Construction of Artistic Identity | 6 |
Gender and the Personal Formation of Artistic Identity | 18 |
A Tale of Two Pictures | 25 |
Artemisia and Mary Magdalene | 35 |
The Example of Caravaggio | 42 |
The Example of Michelangelo | 48 |
Artemisia as the Allegory of Painting | 55 |
The Magdalen as Melancholy | 64 |
The Reappropriation of Gendered Melancholy | 72 |
THE BURGHLEY HOUSE SUSANNA | 77 |
Notes | 125 |
| 159 | |
| 169 | |
Other editions - View all
Artemisia Gentileschi Around 1622: The Shaping and Reshaping of an Artistic ... Mary D. Garrard No preview available - 2001 |
Common terms and phrases
Allegory of Painting argues art history Artemisia Gentileschi Artemisia’s art Artemisia’s Magdalen artistic identity attribution to Artemisia Barberini beauty Bissell’s Burghley House Burghley House Collection Burghley House Susanna Burghley Susanna Caravaggio Carracci Casa Buonarroti Casino Ludovisi Cleopatra composition connoisseurship Contini and Papi Corisca creative David Detroit Judith drapery duke of Alcalá early Elders engraving example expression female feminine feminism feminist figure Florence photograph Florentine fountain French Garrard gender Guercino iconography identified Imperiale inventory Italian Jael and Sisera landscape Lucretia Ludovisi Madonna Magdalene as Melancholy male Mary Magdalene masculine masculinist Michelangelo Naples National Gallery oeuvre Orazio Orazio Gentileschi original Palazzo Pitti palmi patrons picture picture’s Pittura Pommersfelden Pommersfelden Susanna portrait pose present Private collection putto rape Renaissance replica Rome Saint Sarah Fisher Self-Portrait Seville Magdalen Seville picture sexual signature signed and dated Sisera social Spada Stamford Lincolnshire theme Uffizi Uffizi Judith University Press visual woman women X-ray