- Hardcover: 204 pages
- Publisher: University of California Press (5 Mar 2001)
- Language English
- ISBN-10: 0520224264
- ISBN-13: 978-0520224261
- Product Dimensions: 26 x 18.3 x 1.9 cm
- Amazon Bestsellers Rank: 5,317,002 in Books (See Top 100 in Books)
- See Complete Table of Contents
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"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, coauthor with Marilyn Aronberg Lavin of La Liturgia d'Amore: Immagini dal Canto dei Cantici nell'arte di Cimabue, Michelangelo, e Rembrandt (Modena, 2000) "Linda Nochlin once famously asked: 'Why are there no great woman artists?' Challenged by that question, Mary Garrard has been brilliantly establishing the greatness of the Italian Baroque painter Artemisia Gentileschi. Now Garrard's findings culminate in a great book - one with all the acerbic panache of one of Artemisia's pictures." -George Hersey, author of Architecture and Geometry in the Age of the Baroque "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"
Product Description
Mary D. Garrard, author of the acclaimed Artemisia Gentileschi, furthers her study of the seventeenth-century artist in this ground-breaking investigation of two little-known paintings. Taking as case studies the Seville Mary Magdalene and the Burghley House Susanna and the Elders, paintings of circa 1621-22 attributed to Artemisia. Garrard examines the ways that identity, gender, and market pressures interact both in the artist's work and in the criticism and connoisseurship that have surrounded it.
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1 review
11 of 11 people found the following review helpful
Not for the beginner
13 Feb 2005
Format:Paperback
If you are wanting to discover more about one of history's greatest and most dramatic female artists, then this is not the book that would be the best starting point. Earlier works by Mary D. Garrard, such as her "Artemisia Gentileschi" (1989), would suit the new reader much better.
Garrard, in the current book, examines just two paintings, a Magdalen and a Susanna & the Elders, in great detail, dissecting their attributions on stylistic, historical, and radiographic grounds. As in her previous work, she takes a strong pro-feminist view and replies to many of her feminist critics.
It is not an easy-reading book, nor was it intended to be. However, it is a must for the hard-core Artemisia fan.
Garrard, in the current book, examines just two paintings, a Magdalen and a Susanna & the Elders, in great detail, dissecting their attributions on stylistic, historical, and radiographic grounds. As in her previous work, she takes a strong pro-feminist view and replies to many of her feminist critics.
It is not an easy-reading book, nor was it intended to be. However, it is a must for the hard-core Artemisia fan.
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