Christiansen, Keith, & Judith W. Mann, "Orazio and Artemisia Gentileschi"
Christiansen, Keith, & Judith W. Mann, "Orazio and Artemisia Gentileschi"
Metropolitan Museum of Art/H.N.Abrams | 2001 | ISBN: 0300090773/1588390063 | English | PDF | 480 pages | 87.97 Mb
Metropolitan Museum of Art/H.N.Abrams | 2001 | ISBN: 0300090773/1588390063 | English | PDF | 480 pages | 87.97 Mb
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.
This beautifully produced volume brings together for the first time works by two remarkable painters of seventeenth-century Italy who happen also to have been father and daughter: Orazio and Artemisia Gentileschi. Famous in their own day, these two artists have enjoyed renewed fame in the twentieth century: Orazio as one of the first and certainly the most individual of Caravaggio's followers; Artemisia as the outstanding female painter prior to the twentieth century. The tumultuous lives of these two artists moved along parallel trajectories and take the reader from the popular quarters of papal Rome and the rough-and-tumble world of Naples to the courts of the grand duke of Tuscany, Marie de' Medici in Paris, and Charles I in London. These changing circumstances nourished two different aesthetic visions, both of which were deeply rooted in the Caravaggesque practice of painting directly from the posed model. While Orazio's art became every more refined and elegant, Artemisia espoused a rhetorical form of dramatic presentation that is the basis of Baroque painting.
Written to accompany the landmark exhibition held in Rome, New York, and Saint Louis, the book includes essays that describe the art and people the two painters encountered in the course of their peripatetic careers and address such issues as feminism ad the critical interpretation of Artemisia's work. The essays, arranged chronologically to follow the artists as they moved from city to city, not only provide critical commentary but illuminate the historical context in which they worked.
The appendices include previously unpublished documents relating to the trial of Orazio's colleague Agostino Tassi for his rape of Artemisia, which shed new light on her father's workshop practice, and a recently discovered inventory of Artemisia's household goods drawn up on the eve of her departure from Florence to Rome. The book is the work of Keith Christiansen and Judith W. Mann, with contributions by a team of outstanding scholars.
Christiansen, Keith, & Judith W. Mann, "Orazio and Artemisia Gentileschi"
Book of the Year Award (ForeWord) in Art (2001)
Foreword
Philippe de Montebello, Brent Benjamin, Claudio Strinati
Acknowledgments
Lenders to the Exhibition
Organizing Committee
Contributors to the Catalogue
Notes to the Reader and Keys to Authors of Entries
Documented Chronologies of the Life and Work of Orazio and Artemisa Gentileschi
I. Orazio Gentileschi (1563–1639)
The Art of Orazio Gentileschi
Keith Christiansen
Catalogue
Unless otherwise noted, catalogue entries are by Keith Christiansen
Orazio in Rome: 1599–1621
The Rome of Orazio Gentileschi
Alessandro Zuccari
Catalogue nos. 1–22
Orazio Gentileschi between Rome and the Marches
Livia Carloni
Catalogue nos. 23–24
Orazio in Genoa: 1621–24
Orazio Gentileschi in Genoa
Mary Newcome
Catalogue nos. 35–43
Orazio in Paris: 1624–26
Gentileschi in France, Gentileschi and the French
Jean-Pierre Cuzin
Catalogue nos. 44–45
Orazio in London: 1626–39
Orazio Gentileschi at the Court of Charles I
Gabriele Finaldi and Jeremy Wood
Catalogue nos. 46–50
II. Artemisia Gentileschi (1593–1652/3)
Artemisia and Orazio Gentileschi
Judith W. Mann
Life on the Edge: Artemisia Gentileschi, Famous Woman Painter Elizabeth Cropper
Catalogue
Catalogue entries are by Judith W. Mann
Artemisia in Rome: 1610–13
Artemisia in Her Father's House
Patrizia Cavazzini
Catalogue nos. 51–55
Artemisia in Florence: 1613–20
Artemisia Gentileschi's Florentine Inspiration
Roberto Contini
Catalogue nos. 56–60
Artemisia in Rome and Venice: 1620–29
"I have made up my mind to take a short trip to Rome"
Richard Spear
Catalogue nos. 61–71
Artemisia in Naples and London: 1692–52
Artemisia in Naples, Naples and Artemisia
Riccardo Lattuada
Catalogue nos. 72–84
III. Addendum: Orazio Gentileschi
Catalogue no. 85
Documentary Appendices
1. Documents Relating to the Trial of Agostino Tassi
Patrizia Cavazzini
2. Orazio Gentileschi in Rome: Two New Documents
Livia Carloni
3. Artemisia Gentileschi in Florence: Inventory of Household Goods and Working Materials
Francesco Solinas and Roberto Contini
4. Orazio Gentileschi at the Court of Charles I: Six Documents
Gabriele Finaldi and Jeremy Wood
Bibliography
General Index
Index of Works by Orazio Gentileschi
Index of Works by Artemisia Gentileschi
Photograph Credits
Philippe de Montebello, Brent Benjamin, Claudio Strinati
Acknowledgments
Lenders to the Exhibition
Organizing Committee
Contributors to the Catalogue
Notes to the Reader and Keys to Authors of Entries
Documented Chronologies of the Life and Work of Orazio and Artemisa Gentileschi
I. Orazio Gentileschi (1563–1639)
The Art of Orazio Gentileschi
Keith Christiansen
Catalogue
Unless otherwise noted, catalogue entries are by Keith Christiansen
Orazio in Rome: 1599–1621
The Rome of Orazio Gentileschi
Alessandro Zuccari
Catalogue nos. 1–22
Orazio Gentileschi between Rome and the Marches
Livia Carloni
Catalogue nos. 23–24
Orazio in Genoa: 1621–24
Orazio Gentileschi in Genoa
Mary Newcome
Catalogue nos. 35–43
Orazio in Paris: 1624–26
Gentileschi in France, Gentileschi and the French
Jean-Pierre Cuzin
Catalogue nos. 44–45
Orazio in London: 1626–39
Orazio Gentileschi at the Court of Charles I
Gabriele Finaldi and Jeremy Wood
Catalogue nos. 46–50
II. Artemisia Gentileschi (1593–1652/3)
Artemisia and Orazio Gentileschi
Judith W. Mann
Life on the Edge: Artemisia Gentileschi, Famous Woman Painter Elizabeth Cropper
Catalogue
Catalogue entries are by Judith W. Mann
Artemisia in Rome: 1610–13
Artemisia in Her Father's House
Patrizia Cavazzini
Catalogue nos. 51–55
Artemisia in Florence: 1613–20
Artemisia Gentileschi's Florentine Inspiration
Roberto Contini
Catalogue nos. 56–60
Artemisia in Rome and Venice: 1620–29
"I have made up my mind to take a short trip to Rome"
Richard Spear
Catalogue nos. 61–71
Artemisia in Naples and London: 1692–52
Artemisia in Naples, Naples and Artemisia
Riccardo Lattuada
Catalogue nos. 72–84
III. Addendum: Orazio Gentileschi
Catalogue no. 85
Documentary Appendices
1. Documents Relating to the Trial of Agostino Tassi
Patrizia Cavazzini
2. Orazio Gentileschi in Rome: Two New Documents
Livia Carloni
3. Artemisia Gentileschi in Florence: Inventory of Household Goods and Working Materials
Francesco Solinas and Roberto Contini
4. Orazio Gentileschi at the Court of Charles I: Six Documents
Gabriele Finaldi and Jeremy Wood
Bibliography
General Index
Index of Works by Orazio Gentileschi
Index of Works by Artemisia Gentileschi
Photograph Credits
Keith Christiansen is Jane Wrightsman Curator of Italian Paintings at The Metropolitan Museum of Art.
Judith W. Mann is Curator of Early European Paintings at The Saint Louis Art Museum.
Judith W. Mann is Curator of Early European Paintings at The Saint Louis Art Museum.
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."
The Observer
"… hours of pleasure … opulent …"
Choice Reviews Online
"The illustrations are beautiful and plentiful … Four exceptionally interesting appendixes. An important publication."
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
"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."
The Observer
"… hours of pleasure … opulent …"
Choice Reviews Online
"The illustrations are beautiful and plentiful … Four exceptionally interesting appendixes. An important publication."
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
Christiansen, Keith, & Judith W. Mann, "Orazio and Artemisia Gentileschi"
