The Artemisia Files: Artemisia Gentileschi for Feminists and Other Thinking People - Softcover

Softcover

ISBN 10: 0226035824 ISBN 13: 9780226035826

Verlag: University of Chicago Press, 2006

Inhaltsangabe

One of the first female artists to achieve recognition in her own time, Artemisia Gentileschi (1593-1653) became instantly popular in the 1970s when feminist art historians "discovered" her and argued vehemently for a place for her in the canon of Italian baroque painters. Featured alongside her father, Orazio Gentileschi, in a recent exhibition at the Metropolitan Museum of Art, Artemisia has continued to stir interest though her position in the canon remains precarious, in part because her sensationalized life history has overshadowed her art.

In The Artemisia Files, Mieke Bal and her coauthors look squarely at this early icon of feminist art history and the question of her status as an artist. Considering the events that shaped her life and reputation—her relationship to her father and her role as the victim in a highly publicized rape case during which she was tortured into giving evidence—the authors make the case that Artemisia's importance is due to more than her role as a poster child in the feminist attack on traditional art history; here, Artemisia emerges more fully as a highly original artist whose work is greater than the sum of the events that have traditionally defined her.

The fresh, engaging discourse in The Artemisia Files will help to both renew the reputation of this artist on the merit of her work and establish her rightful place in the history of art.

“Over the last generation Artemisia has been transformed from a talented curiosity . . . into a standard bearer of early feminist consciousness. This book offers a fascinating glimpse into the critical frame of mind underlying this transformation.”—Keith Christiansen, Jayne Wrightsman Curator of Italian Painting, The MetropolitanMuseum of Art

Über diesen Titel

Über die Autorin bzw. den Autor

Mieke Bal is professor at the Royal Netherlands Academy of Arts and Sciences and cofounder of the Amsterdam School for Cultural Analysis at the University of Amsterdam. Her previous books includeQuoting Caravaggio: Contemporary Art, Preposterous History, and Louise Bourgeois’ "Spider:" The Architecture of Art-Writing, both published by the University of Chicago Press.

Von der hinteren Coverseite

One of the first female artists to achieve recognition in her own time, Artemisia Gentileschi (1593-1653) became instantly popular in the 1970s when feminist art historians "discovered" her and argued vehemently for a place for her in the canon of Italian baroque painters. Featured alongside her father, Orazio Gentileschi, in a recent exhibition at the Metropolitan Museum of Art, Artemisia has continued to stir interest--though her position in the canon remains precarious, in part because her sensationalized life history has overshadowed her art.
In The Artemisia Files, Mieke Bal and a distinguished group of contributors look squarely at this early icon of feminist art history and the question of her status as an artist. Here, Artemisia emerges more fully as a highly original artist whose work is greater than the sum of the events that have traditionally defined her life and reputation, such as her relationship to her father and her role as the victim in a highly publicized rape case during which she was tortured into giving evidence. The six essays in The Artemisia Files offer a new critical assessment of Artemisia's work by devising a variety of approaches that amend past injustices and reconsider the artist and her work from many different angles, including the question of attribution, critical judgment, personal confrontation, Artemisia's historical context, the exhibition of her work, and popular recastings of her story. The fresh, engaging discourse in The Artemisia Files will help to both revive the reputation of this artist on the merit of her work and establish her rightful place in the history of art.

Aus dem Klappentext

One of the first female artists to achieve recognition in her own time, Artemisia Gentileschi (1593 1653) became instantly popular in the 1970s when feminist art historians discovered her and argued vehemently for a place for her in the canon of Italian baroque painters. Featured alongside her father, Orazio Gentileschi, in a recent exhibition at the Metropolitan Museum of Art, Artemisia has continued to stir interest though her position in the canon remains precarious, in part because her sensationalized life history has overshadowed her art.
In The Artemisia Files,Mieke Bal and a distinguished group of contributors look squarely at this early icon of feminist art history and the question of her status as an artist. Here, Artemisia emerges more fully as a highly original artist whose work is greater than the sum of the events that have traditionally defined her life and reputation, such as her relationship to her father and her role as the victim in a highly publicized rape case during which she was tortured into giving evidence. The six essays in The Artemisia Files offer a new critical assessment of Artemisia s work by devising a variety of approaches that amend past injustices and reconsider the artist and her work from many different angles, including the question of attribution, critical judgment, personal confrontation, Artemisia s historical context, the exhibition of her work, and popular recastings of her story. The fresh, engaging discourse inThe Artemisia Files will help to both revive the reputation of this artist on the merit of her work and establish her rightful place in the history of art.

Details zur Ausgabe

• Verlag: University of Chicago Press
• Erscheinungsdatum: 2006
• Sprache: Englisch
• ISBN 10: 0226035824
• ISBN 13: 9780226035826
• Einband: Taschenbuch
• Anzahl der Seiten: 271
• Herausgeber: Bal Mieke
• Kontakt zum Hersteller: The University of Chicago Press; https://press.uchicago.edu/index.html; ; 5801 S. Ellis Avenue; Chicago; IL; 60637; USA
• Verantwortliche Person: Mare Nostrum Group B.V.; gpsr@mare-nostrum.co.uk; ; Doelen 72; Breda; 4831 GR; Niederlande