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Artemisia Gentileschi
Judith W. Mann, Introduction; R. Ward Bissell, Re-thinking Early Artemisia; Patrizia Cavazzini, The Other Women in Agostino Tassi's Life; Judith W. Mann, The Myth of Artemisia as Chameleon: A new Look at the London Allegory of Painting; Riccardo Lattuada and Eduardo Nappi, New Documents and Some Remarks on Artemisia's Production in Naples and elsewhere; Mary D. Garrard, Artemisia's Hand; Elizabeth Cohen, 'What's in a Name'...'; Ann Sutherland Harris, Artemisia and Orazio: Drawing Conclusions; Richard Spear, Money Matters; Alexandra Lapierre, Artemisia: Art, Facts and Fictions. Judith W.Mann is curator of early European art, Saint Louis Art Museum (SLAM), St. Louis, Missouri.
Orazio and Artemisia Gentileschi [published to Accompany the Exhibition Held at the Museo Del Palazzo Di Venezia, Rome, 15 October - 6 January 2002 ; the Metropolian Museum of Art, New York, 14 February - 12 May 2002 ; the Saint Louis Art Museum, 15 June - 15 September 2002
This beautiful book presents the work of these two painters, exploring the artistic development of each, comparing their achievements and showing how both were influenced by their times and the milieus in which they worked.
Public Feminism in Times of Crisis
Public Feminism in Times of Crisis examines the public practice of feminism in the age of social media. While their concept of public feminism emerges from a moment of acute crisis (the Trump years and the Covid-19 pandemic), Leila Easa and Jennifer Stager locate its foundations in history, journeying through broad swatches of time looking for connections between the centuries through art and literature and culture. Each chapter focuses on what public feminists do in the world: Public feminists gain control over an archive that otherwise contains or excludes them; they recover their own stories and subjective experiences, sometimes for activist use; they examine images and language that cons...
The Riddle of Jael
Winner of the 2019 SECAC Award for Excellence in Scholarly Research and Publication In The Riddle of Jael, Peter Scott Brown offers the first history of the Biblical heroine Jael in medieval and Renaissance art. Jael, who betrayed and killed the tyrant Sisera in the Book of Judges by hammering a tent peg through his brain as he slept under her care, was a blessed murderess and an especially fertile moral paradox in the art of the early modern period. Jael’s representations offer insights into key religious, intellectual, and social developments in late medieval and early modern society. They reflect the influence on art of exegesis, the Reformation and Counter-Reformation, humanism and moral philosophy, misogyny and the battle of the sexes, the emergence of syphilis, and the Renaissance ideal of the artist.
The Wrightsman Pictures
This lavish catalogue presents 150 European paintings, pastels, and drawings from the late fifteenth to the mid-nineteenth century that have been given to the Metropolitan Museum by Mr. and Mrs. Charles Wrightsman or are still held in Mrs. Wrightsman's private collection. These notable works were collected over the past four decades, many of them with the Museum in mind; some were purchased by the Museum through the Wrightsman Fund. Highlights of the book include masterpieces by Vermeer, El Greco, Rubens, Van Dyck, Georges de La Tour, Jacques-Louis David, and Caspar David Friedrich as well as numerous paintings by the eighteenth-century Venetian artists Canaletto, Guardi, and the Tiepolos, father and son, plus a dozen remarkable portrait drawings by Ingres. Each work is reproduced in color and is accompanied by a short essay.
The Art of Music
"The Art of Music takes the relationship between two of the more prominent and oft-intersecting branches of artistic creation as its subject. The liaison between music and the visual arts has inspired countless generations of artists. The two have had manifold complex interactions across all periods of history, in Western and non-Western contexts alike, yet their intersection has only become a rich vein for research by art historians and musicologists in the last thirty years. By tracing these relationships, new insights into the affinities of the arts become clear"--
City Views in the Habsburg and Medici Courts
In City Views in the Habsburg and Medici Courts, Ryan E. Gregg relates how Charles V, Holy Roman Emperor, and Duke Cosimo I of Tuscany employed city view artists such as Anton van den Wyngaerde and Giovanni Stradano to aid in constructing authority. These artists produced a specific style of city view that shared affinity with Renaissance historiographic practice in its use of optical evidence and rhetorical techniques. History has tended to see city views as accurate recordings of built environments. Bringing together ancient and Renaissance texts, archival material, and fieldwork in the depicted locations, Gregg demonstrates that a close-knit school of city view artists instead manipulated settings to help persuade audiences of the truthfulness of their patrons’ official narratives.
Pompeo Batoni
Inventive storytelling: the early subject pictures -- Batoni's British patrons and the grand tour -- Painter of princes and prince of painters -- Restorer of the Roman school: final years and reception -- Drawings, working methods, and studio practices.
Scoundrels, Cads, and Other Great Artists
Just because the art is beautiful doesn't mean the artist was a saint . . . Scoundrels, Cads, and Other Great Artists examines the lives of nine great artists who were less than exemplary human beings in their lives outside of their art. It explores the question, “Why do we like magnificent art from artists who were awful human beings?” For example, the great Baroque painter, Caravaggio, who developed the chiaroscuro style of painting, was in constant trouble with the law, even having killed a man in a duel. Frederick Remington, the great painter of the American West, was an incredible racist and bigot. His evocative paintings of Native Americans on the trail on horseback give no hint of...
