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Editorial Reviews
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 This catalog also includes excellent color reproductions and previously unpublished documents relating to the trial of Orazio's colleague, Agostino Tassi, for raping Artemesia.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.
From Booklist
Artemisia Gentileschi (1593-1653) has been heralded as one of the few famous women painters of her time, but as the expert and articulate contributors to this unprecedented study of both Artemisia and her painter father, Orazio, explain, there's more to her story than is commonly known. Christiansen, curator of Italian paintings at the Metropolitan Museum of Art, launches this beautifully produced and genuinely exciting volume with a fresh look at Orazio's remarkable transformation from a competent but bland painter into a veritable "poet of light" after working with Caravaggio. An "ardent champion" of his talented, ambitious, and motherless daughter, he was also her teacher, but Artemisia quickly established her own style and focus. The most notorious aspect of their saga is Artemisia's rape, or deflowering, by the artist Tassi, a colleague of her father's, and curator Mann and others shed new light on this event, and the equally compelling question of whether Artemisia was the model for female nudes in Orazio's and her own paintings, beginning with her astute and audacious Susanna and the Elders, painted when she was 17. Both artists emerge from these meticulously argued pages as complex and unconventional human beings as well as consummate artists, and their glorious paintings glow with rekindled radiance. Donna Seaman
Copyright © American Library Association. All rights reserved
See all Editorial Reviews
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.
From Booklist
Artemisia Gentileschi (1593-1653) has been heralded as one of the few famous women painters of her time, but as the expert and articulate contributors to this unprecedented study of both Artemisia and her painter father, Orazio, explain, there's more to her story than is commonly known. Christiansen, curator of Italian paintings at the Metropolitan Museum of Art, launches this beautifully produced and genuinely exciting volume with a fresh look at Orazio's remarkable transformation from a competent but bland painter into a veritable "poet of light" after working with Caravaggio. An "ardent champion" of his talented, ambitious, and motherless daughter, he was also her teacher, but Artemisia quickly established her own style and focus. The most notorious aspect of their saga is Artemisia's rape, or deflowering, by the artist Tassi, a colleague of her father's, and curator Mann and others shed new light on this event, and the equally compelling question of whether Artemisia was the model for female nudes in Orazio's and her own paintings, beginning with her astute and audacious Susanna and the Elders, painted when she was 17. Both artists emerge from these meticulously argued pages as complex and unconventional human beings as well as consummate artists, and their glorious paintings glow with rekindled radiance. Donna Seaman
Copyright © American Library Association. All rights reserved
See all Editorial Reviews
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