The Wadsworth Atheneum has acquired a significant self portrait by Artemisia Gentileschi, “Self-Portrait as a Lute Player” (c. 1616–18). Gentileschi, a prominent 17th-century “Caravaggisti,” is today something of a feminist icon due to her prominence during a male-dominated art historical period. The work was acquired in a January auction at Christie’s, where the Hartford, Connecticut museum paid a sum “not near” the low estimate of $3 million, according to Oliver Tostmann, the Susan Morse Hilles Curator of European Art at the Atheneum.
In a news release for that auction, Christie’s noted that the painting was likely commissioned by Grand Duke Cosimo II de’ Medici, and that since its discovery in a European private collecting in 1998 has been exhibited at the The Metropolitan Museum of Art and the Galleria degli Uffzi. Gentileschi’s best-known self-portrait is her “Self-Portrait as the Allegory of Painting (La Pittura)” (1638–39), held in Britain’s Royal Collection. The catalogue entry for that work explains: “Few of Artemisia’s self-portraits survive and the references to them in the artist’s correspondence only hint at what others might have looked like.”
Tostmann noted “Self-Portrait as a Lute Player” is particularly instructive on the period because it “helps us to place her situation in the artistic context of that city.”
“If you look at the coloring, the beautiful blue of her dress, there is certain reference to the very specific culture of Florence,” he said.
The newly-acquired work is not presently on view; it will, according to the museum’s website, “be a centerpiece of the Fall 2015 reopening of the Morgan Memorial Building.”
This week, arts orgs and the war for talent, importance of house museums, the 125 most borrowed books in Brooklyn, the history of listicles, and more.
Lisa Ericson renders her real-world subjects beautifully, but the situations in which we find them are uncanny, menacing, and unexpected.
The unique MFASA at the Institute of American Indian Arts offers mentorships with world-renowned Indigenous artists, flexible schedules, and access to one of the US’s cultural capitals.
Contemporary society in the United States normalizes the idea of the exhausted mother, so why wouldn’t mother nature be equally exhausted?
Tsai’s style is the opposite of boring; in demanding the viewer’s attention, he allows for incredible moments of human connection and discovery.
Over 4,000 artists have signed on to the event, with a nifty online directory listing paintings, sculptures, ceramics, and much more.
American artists were instrumental in propagating the false narrative of Thanksgiving, a deliberate erasure of violence against Indigenous peoples.
“Revolution is a daily practice — a life choice. Not a selfie at a protest,” says Onondaga artist Frank Buffalo Hyde.
Hyperallergic staff share their favorite artists, craft shops, designers, and much more.
Field of Vision’s latest free streaming offering focuses on a vulnerable population put at risk, told through the stories of those inside.