Orazio and Artemisia Gentileschi

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9780300090772: Orazio and Artemisia Gentileschi

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.

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From the Publisher:

This beautiful book is the catalogue for the first full-scale exhibition of the works of Orazio and Artemisia Gentileschi, which will be held at The Metropolitan Museum of Art from February 11 to May 12, 2002 and at the St. Louis Art Museum from June 15 to September 15, 2002.

From Library Journal:

This book, which accompanies an exhibition currently at the Metropolitan Museum of Art in New York and traveling both to the St. Louis Art Museum and to the Museo di Palazzo di Venezia in Rome, is the first to examine in one volume both Orazio and Artemesia Gentileschi, father-and-daughter artists of 17th-century Italy. The catalog demonstrates that Orazio Gentileschi follows the Caravaggesque practice of painting from the model, which Artemesia in turn absorbed into her own painting methods. At the same time, curator Christiansen concludes that Orazio painted much more in the elegant style of classical painting in France and never accepted the Baroque idioms of drama and expressiveness that his daughter Artemesia wholeheartedly embraced in her painting. Also discussed in this catalog is the feminist aspect of Artemesia's position as a talented woman artist, the possibility that she was the model for her own "Susanna and the Elders" early in her career, and how her social environment and opportunities as a woman artist changed dramatically after her marriage and her move from Rome to Florence. This catalog also includes excellent color reproductions and previously unpublished documents relating to the trial of Orazio's colleague, Agostino Tassi, for raping Artemesia. The scholarly literature on these artists should be advanced considerably by this extremely comprehensive volume. Enthusiastically recommended for all libraries that support programs in art and art history. [Interested readers will also want to look at Susan Vreeland's The Passion of Artemisia, a fictional account of the artists reviewed in LJ 12/01. Ed.] Sandra Rothenberg, Framingham State Coll., MA
Copyright 2002 Cahners Business Information, Inc.

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