“Susanna and the Elders” (c. 1638–39) had been misattributed and stowed away in rough condition at the Hampton Court Palace in Surrey.
But like so many fashion collections based on visual art, the connection seems abstract at best.
Conservators are working to “virtually restore” a Gentileschi painting whose nude figure was covered with draping and veils in the interest of modesty.
The previously unknown work was salvaged by a Lebanese artist and art historian, who first made the case for the painting’s authenticity.
A painting now exhibited at the Nasjonalmuseet captures Judith and her maidservant in the moment after slaying Holofernes and before their escape, as though veritably peering out of frame.
The Carabinieri’s art crime unit said Gentileschi’s masterpiece “Caritas Romana” was on its way to be sold in Vienna.
Sheila Barker’s account reveals an undeniably strong character and confidence distinct from, or perhaps in conjunction with, her practical survival needs.
After Gregory Buchakjian’s discovery laid largely dormat for decades, his research has been renewed and well-received by scholars of the Baroque artist.
Imagine if Berthe Morisot had been known as Berthe Manet.
“Lucretia” (ca. 1627) remained in private hands for centuries before it was recently rediscovered in a collection in southern France.
Seeing how impressive and successful Gentileschi was in her lifetime, it is staggering that it has taken a show such as this to dispel her unfair dismissal by art history.
The art historian Mary Garrard’s lively account of Artemisia Gentileschi is timely in its exploration of her art which was composed of anger, accusation, and even humor.