Some error occured while loading the Quick View. Please close the Quick View and try reloading the page.
Mary D. Garrard, author of the acclaimed Artemisia Gentileschi, furthers her study of the seventeenth-century artist in this groundbreaking 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.
Price: $50.00
Pages: 204
Publisher: University of California Press
Imprint: University of California Press
Publication Date:
21 February 2001
Trim Size: 10.00 X 7.00 in
ISBN: 9780520228412
Format: Paperback
"In all, Garrard’s book is insightful and provocative. It resolves mysteries relating to two problematic paintings by studying them through myriad perspectives, while raising issues of scholarship that will no doubt spur renewed debate among the exponents of various methodologies. A definite “must-read” for scholars of Italian Baroque painting, although others will benefit from what the book has to offer in terms of connoisseurship."
Mary D. Garrard is Professor of Art at American University. She is the author of Artemisia Gentileschi: The Image of the Female Hero in Italian Baroque Art and coeditor, with Norma Broude, of Feminism and Art History: Questioning the Litany; The Expanding Discourse: Feminism and Art History; and The Power of Feminist Art: The American Movement of the 1970s, History and Impact.
List of Illustrations
Acknowledgments
Preface
Introduction: Connoisseurship in a New Key
Gender and the Social Construction of Artistic Identity
Gender and the Personal Formation of Artistic Identity
PART ONE: A New Magdalen
A Tale of Two Pictures
Artemisia and Mary Magdalene
The Example of Caravaggio
The Example of Michelangelo
Artemisia as the Allegory of Painting
The Magdalen as Melancholy
The Reappropriation of Gendered Melancholy
PART TWO: The Burghley House Susanna
A Problem Picture
Susanna in the Garden of Love
Susanna as Social Scapegoat
The Picture: Technical Analysis and Documentation
Collaboration or Unauthorized Alteration?
Artemisia and Susanna, Public and Audience
Conclusion: The Shaping of a Complex Identity
Notes
Works Cited
Index
Acknowledgments
Preface
Introduction: Connoisseurship in a New Key
Gender and the Social Construction of Artistic Identity
Gender and the Personal Formation of Artistic Identity
PART ONE: A New Magdalen
A Tale of Two Pictures
Artemisia and Mary Magdalene
The Example of Caravaggio
The Example of Michelangelo
Artemisia as the Allegory of Painting
The Magdalen as Melancholy
The Reappropriation of Gendered Melancholy
PART TWO: The Burghley House Susanna
A Problem Picture
Susanna in the Garden of Love
Susanna as Social Scapegoat
The Picture: Technical Analysis and Documentation
Collaboration or Unauthorized Alteration?
Artemisia and Susanna, Public and Audience
Conclusion: The Shaping of a Complex Identity
Notes
Works Cited
Index