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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 I 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.
480 pages, Hardcover
First published January 1, 2001
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Displaying 1 - 8 of 8 reviews
November 19, 2017
The daughter of an Italian painter in seventeenth-century Italy; Artemisia Gentileschi existed in a world where women lived either as wives or in a covenant and instead emerged as a celebrated Baroque painter. Overcoming a sensational rape trial (which she ‘won’); Artemisia stands firmly among feminist circles and in the art world. Sadly, neither Artemisia nor her father receives the proper attention they rightfully deserve. This was redeemed in 2002 by a three-city exhibit (Rome, New York City, and St. Louis) featuring a sole focus on the Gentileschi catalogs. Keith Christiansen and Judith Mann (curators to the exhibits) accompanied the groundbreaking museum appearances in, “Orazio and Artemisia Gentileschi”.
“Orazio and Artemisia Gentileschi” is a glorious coffee table art book combining the standard museum exhibit-coverage supplement with a biographical and psychoanalytical breakdown. The volume is visually stunning with glossy pages and vivid photos of the catalogs of these two artists but beyond that; it offers essays from various contributors exploring not only Orazio and Artemisia but also of the art environment in seventeenth-century Italy.
The curators divide the text with a former focus on Orazio by Christiansen and the latter on Artemisia by Mann. Christiansen hits the ground running with a scholarly but easy-to-understand and readable spotlight on Orazio. One doesn’t have to be an art expert to be captivated by the reading and Christiansen truly opens up the world of art and Orazio to readers rather than merely exploring the technical aspects of paintings which tends to be the habit of art books.
Christiansen successfully applies a comparison and co-existing look at Orazio’s effects on Artemisia (although he sometimes ventures off on tangents) which gives readers a balanced and well-rounded look concerning the subject.
A highlight of “Orazio and Artemisia Gentileschi” is that the painting captions and text don’t only describe the art but also explores the technique and emotional creation, the commissioners for each piece, the history of ownership/location, etc. Very few texts exist on these two artists and “Orazio and Artemisia Gentileschi” is definitely the “go-to” for admirers of their work.
The transition into Mann’s section on Artemisia is smooth, occurring around the 250-page mark. Mann initially pens a background essay into Artemisia’s life on a personal and professional level. Sadly, though, Mann’s writing almost has a negative spin and doesn’t feature Artemisia in the best light. Perhaps this was an attempt by Mann to not be overly biased towards Artemisia but she slips into the opposite end of the spectrum.
Following the conclusion of Artemisia’s half of “Orazio and Artemisia Gentileschi”, are compelling appendices featuring never-before published documents: transcripts of Artemisia’s rape trial against Agostino Tassi, inventory receipts of Artemisia’s goods, and several documents of Orazio’s, including during his time at the court of King Charles I of England. These highlights add considerable depth to “Orazio and Artemisia Gentileschi” and result in stand-out material among traditional art books. The appendices will certainly please those who seek a look at the personalities of the father and daughter painters beyond their professional work. The only issue is with Appendix Four in which the documents are not translated in full from Italian with the exception of one (Orazio’s will).
“Orazio and Artemisia Gentileschi” wraps up with an extensive and notable biography.
Whether a Gentileschi lover or just a fan of coffee table art books; pure satisfaction is derived from “Orazio and Artemisia Gentileschi”. The piece is exceptional and especially when there are few books in existence on the Gentileschi pair. “Orazio and Artemisia Gentileschi” is recommended for Artemisia Gentileschi fans, those seeking an introduction to the father and daughter, and Italian Baroque art connoisseurs.
“Orazio and Artemisia Gentileschi” is a glorious coffee table art book combining the standard museum exhibit-coverage supplement with a biographical and psychoanalytical breakdown. The volume is visually stunning with glossy pages and vivid photos of the catalogs of these two artists but beyond that; it offers essays from various contributors exploring not only Orazio and Artemisia but also of the art environment in seventeenth-century Italy.
The curators divide the text with a former focus on Orazio by Christiansen and the latter on Artemisia by Mann. Christiansen hits the ground running with a scholarly but easy-to-understand and readable spotlight on Orazio. One doesn’t have to be an art expert to be captivated by the reading and Christiansen truly opens up the world of art and Orazio to readers rather than merely exploring the technical aspects of paintings which tends to be the habit of art books.
Christiansen successfully applies a comparison and co-existing look at Orazio’s effects on Artemisia (although he sometimes ventures off on tangents) which gives readers a balanced and well-rounded look concerning the subject.
A highlight of “Orazio and Artemisia Gentileschi” is that the painting captions and text don’t only describe the art but also explores the technique and emotional creation, the commissioners for each piece, the history of ownership/location, etc. Very few texts exist on these two artists and “Orazio and Artemisia Gentileschi” is definitely the “go-to” for admirers of their work.
The transition into Mann’s section on Artemisia is smooth, occurring around the 250-page mark. Mann initially pens a background essay into Artemisia’s life on a personal and professional level. Sadly, though, Mann’s writing almost has a negative spin and doesn’t feature Artemisia in the best light. Perhaps this was an attempt by Mann to not be overly biased towards Artemisia but she slips into the opposite end of the spectrum.
Following the conclusion of Artemisia’s half of “Orazio and Artemisia Gentileschi”, are compelling appendices featuring never-before published documents: transcripts of Artemisia’s rape trial against Agostino Tassi, inventory receipts of Artemisia’s goods, and several documents of Orazio’s, including during his time at the court of King Charles I of England. These highlights add considerable depth to “Orazio and Artemisia Gentileschi” and result in stand-out material among traditional art books. The appendices will certainly please those who seek a look at the personalities of the father and daughter painters beyond their professional work. The only issue is with Appendix Four in which the documents are not translated in full from Italian with the exception of one (Orazio’s will).
“Orazio and Artemisia Gentileschi” wraps up with an extensive and notable biography.
Whether a Gentileschi lover or just a fan of coffee table art books; pure satisfaction is derived from “Orazio and Artemisia Gentileschi”. The piece is exceptional and especially when there are few books in existence on the Gentileschi pair. “Orazio and Artemisia Gentileschi” is recommended for Artemisia Gentileschi fans, those seeking an introduction to the father and daughter, and Italian Baroque art connoisseurs.
May 17, 2020
HRV: Pročitano za nastavu na faksu i korišteno u seminarima.
ENG: Read for my college classes and used for seminars.
ENG: Read for my college classes and used for seminars.
February 28, 2023
Catalogo della mostra organizzata a Palazzo Reale (Milano) nel 2011. Bellissime foto e un apparato di testi fondamentali per una panoramica aggiornata (ok, adesso forse un po' meno) sui due artisti.
August 3, 2024
Lo leí para hacer una investigación para la universidad. Muy interesante, con una recopilación de datos biográficos muy detallada y análisis de obras muy completos.
February 26, 2016
I'm currently writing an essay where I need to analyse a painting using two different Art Methodologies. Therefore, I've chosen to analyse 'Judith Slaying Holofernes' by Artemisia Gentileschi using the Feminist and Biographical Methodologies. Thanks to this book I'm well on the way to completing the structure for this essay as well as understanding much more about Gentileschi in general. This has given me a much better knowledge of the context for my essay, which I am hoping will make the essay a stronger and well researched piece of work.
August 22, 2010
A beautifully produced catalog of a 2001 exhibition at the Metropolitan Museum of Art in NYC. Many of the works here were not seen in the States before, and the history behind the paintings is remarkable. Not cheap, but worth it for the art lover.
For the longer review, please go here:
http://www.epinions.com/content_77665...
For the longer review, please go here:
http://www.epinions.com/content_77665...
August 7, 2016
3.5 stars
Read
October 10, 2014759.5 G3384c 2001
Displaying 1 - 8 of 8 reviews