Artemisia Gentileschi : the image of the female hero in Italian Baroque art / by Mary D. Garrard.

By: Garrard, Mary D .

Contributor(s): Gentileschi, Artemisia, 1593-1652 or 3.

Material type: materialTypeLabel

BookPublisher: Princeton, N.J. : Princeton University Press, c1989Description: xxv, 607 p., [24] p. of plates : ill. (some col.), facsims. ; 28 cm.ISBN: 0691040508.Subject(s): Gentileschi, Artemisia, 1593-1652 or 3 -- Criticism and interpretation | Heroines in art

| Painting, Italian

| Painting, Baroque -- Italy

| Feminism and art -- ItalyDDC classification: 759.5 GEN

Holdings
Item type	Current library	Call number	Copy number	Status	Date due	Barcode	Item holds
General Lending	MTU Crawford College of Art and Design Library Lending	759.5 GEN (Browse shelf(Opens below))	1	Available		00067864

Total holds: 0

Enhanced descriptions from Syndetics:

Artemisia Gentileschi, widely regarded as the most important woman artist before the modern period, was a major Italian Baroque painter of the seventeenth century and the only female follower of Caravaggio. This first full-length study of her life and work shows that her powerfully original treatments of mythic-heroic female subjects depart radically from traditional interpretations of the same themes.

Includes bibliography: p. [569]-591 and index.

Reviews provided by Syndetics

Library Journal Review

Mary Garrard presents an in-depth biography of one of the earliest female master painters in Artemisia Gentil-eschi: The Image of the Female Hero in Italian Baroque Art (Princeton Univ. 1991. ISBN 9780-691-00285-9. pap. $45). Strongly influenced by Caravaggio, Gentileschi was celebrated for creating mythic-heroic female characters. Garrard explores her life, one filled with great outrage (at 18 she was raped by her painting teacher and suffered torture during the trial), and her art, judged as luminous and groundbreaking. (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

CHOICE Review

Finally, a scholarly book on this well-known Italian Baroque artist. Garrard, coeditor with N. Broude of Feminism and Art History (CH, Nov '82), here expands on two previous articles on Artemesia. She contests R.W. Bissell's estimation in Orazio Gentileschi and the Poetic Tradition in Carraveggesque Painting (CH, Jan '82) that Artemesia was her father's artistic dependent, arguing that she is distinguished by her self-identification with female protagonists. This quite traditional art history combines biographical material with generous doses of iconographic analysis, spiked occasionally with social history. Fellow female artists Sofonisba Anguissola and Lavinia Fontana receive scant mention. No catalogue raisonne is included. Though attributions are at issue, captions fail to register this. Color plates are adequate; black-and-white illustrations are plentiful but small and poor. Some of the notes range outside the standard art historical literature. Cross-listing and subdivision would have made the copious bibliography more useful; documents are given only in English. Long-winded perhaps, but free of jargon, this book addresses challenging issues with clarity of purpose. Essential if advanced Baroque or women's studies courses are taught. For upper-division undergraduate and graduate students. -P. Emison, University of New Hampshire