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.
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.