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.
An autumnal offering of Artemisia Gentileschi, Dorothea Tanning, Henri Matisse, and Guston galore, among much, much else.
I Know What I Am: The Life and Times of Artemisia Gentileschi weaves together known facts of Gentileschi’s life with the politics of art patronage.
The Dorotheum auction house will sell the Baroque painter’s “Lucretia,” heavily advertising the artists traumatic past as a 17th-century woman.
Jane Fortune once fell in love with the Renaissance artist Plautilla Nelli at a Florence book fair. She’s since devoted her life to uncovering and restoring the great works of hitherto unknown women painters of the last six centuries.
The London museum’s acquisition of what is believed to be a rare Artemisia Gentileschi self-portrait demands a closer look at the world the artist inhabited in 17th-century Florence.
HARTFORD, Conn. — The Wadsworth Atheneum’s fixed-up and rehung Morgan Great Hall, a soaring gallery filled with paintings and sculptures spanning 300 BCE to 1891 CE, reopens to the public Saturday after being closed for six years.
The Wadsworth Atheneum has acquired a significant self portrait by Artemisia Gentileschi, “Self-Portrait as a Lute Player” (c. 1616–18).
Susan Vreeland’s novel The Passion of Artemisia, a work of historical fiction, inspired this list of facts about one of the greatest painters of the Baroque era.
This passage in Rachel Spence’s otherwise straightforward review of the current Artemisia Gentileschi exhibiton at the Palazzo Reale, Milan, immediately caught my attention yesterday in the Financial Times …
The Bowery isn’t the first place in New York you’d think of to run into a Baroque Old Master painting, but then when the “old master” in question is actually one of the pre-modern era’s only iconic female artists, maybe a little bit of downtown attitude should be expected. “Portrait of an Unidentified Man” (1630-1640) by Artemisia Gentileschi is now on view at Sperone Westwater gallery.