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Artemisia Lomi or Artemisia Gentileschi was an Italian Baroque painter. Gentileschi is considered among the most accomplished 17th-century artists, initially working in the style of Caravaggio. She was producing professional work by the age of 15. In an era when women had few opportunities to pursue artistic training or work as professional artists, Gentileschi was the first woman to become a member of the Accademia di Arte del Disegno in Florence and she had an international clientele.
The absence of women from the canon of Western art has been a subject of inquiry and reconsideration since the early 1970s. Linda Nochlin's influential 1971 essay, "Why Have There Been No Great Women Artists?", examined the social and institutional barriers that blocked most women from entering artistic professions throughout history, prompted a new focus on women artists, their art and experiences, and contributed inspiration to the Feminist art movement. Although women artists have been involved in the making of art throughout history, their work, when compared to that of their male counterparts, has been often obfuscated, overlooked and undervalued. The Western canon has historically valued men's work over women's and attached gendered stereotypes to certain media, such as textile or fiber arts, to be primarily associated with women.
Violante Beatrice Siries (1709–1783) was an Italian painter. She was born in Florence and studied under Hyacinthe Rigaud and François Boucher in Paris from 1726. Returning later to Florence she married Giuseppe Cerroti and continued her artistic studies under Conti.
Giovanna Garzoni (1600–1670) was an Italian painter of the Baroque period. She began her career painting religious, mythological, and allegorical subjects but gained fame for her botanical subjects painted in tempera and watercolour. Her works were praised for their precision and balance and for the exactitude of the objects depicted. More recently, her paintings have been seen to have female bodily associations and proto-feminist sentiments. She combined objects very inventively, including Asian porcelain, exotic seashells, and botanical specimens. She was often called the Chaste Giovanna due to her vow to remain a virgin. Scholars have speculated Garzoni may have been influenced by fellow botanical painter Jacopo Ligozzi although details about Garzoni's training are unknown.
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The first international exhibition of art by female artists opened on December 21, 1976 at a time when the Feminist Art Movement was gaining in support and momentum. The show was curated by Professors Ann Sutherland Harris and Linda Nochlin and included eighty-three artists from twelve countries. The four-city exhibition was organized by the Los Angeles County Museum of Art and was on view there from December 21, 1976 through March 1977. The exhibition went on to show at the University Art Museum in Austin, Texas and then to the Carnegie Museum of Art in Pittsburgh, Pennsylvania, after which it completed its run at the Brooklyn Museum in New York. The Alcoa Foundation and the National Endowment for the Arts provided grants for the exhibition. The show became an important event in the history of art, introducing viewers, who were accustomed to a history of art dominated by men, to the important contributions of women artists. However, the show consisted almost entirely of white female artists. The show only included one artist of color, Frida Kahlo, and no black artists.
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Self-Portrait as a Lute Player is one of many self-portrait paintings made by the Italian baroque artist Artemisia Gentileschi. It was created between 1615 and 1617 for the Medici family in Florence. Today, it hangs in the Wadsworth Atheneum Museum of Art, Hartford, Connecticut, US. It shows the artist posing as a lute player looking directly at the audience. The painting has symbolism in the headscarf and outfit that portray Gentileschi in a costume that resembles a Romani woman. Self-Portrait as a Lute Player has been interpreted as Gentileschi portraying herself as a knowledgeable musician, a self portrayal as a prostitute, and as a fictive expression of one aspect of her identity.
Penitent Magdalene is a 1616–1618 painting by the Italian baroque artist Artemisia Gentileschi. This painting hangs in the Pitti Palace in Florence. The subject is the biblical figure Mary Magdalene, but the painting references another biblical woman, Mary, the sister of Lazarus. This painting was likely painted during Gentileschi's Florentine period.
Anna Bacherini Piattoli was an Italian painter.
Maddalena Corvina (1607-1664) was an Italian portrait and still life painter and engraver. Corvina specialized in miniature portrait paintings. Living and working in Rome, the House of Medici were patrons. She apprenticed under her uncle, Francesco da Castello. Anna Angelica Allegrini was a student of Corvina. Works by Corvina are held in the Albani Library. Corvina was the subject of a portrait by Claude Mellan in 1636.
References
- ↑ Hagerty, James R. "Jane Fortune, Known as 'Indiana Jane,' Rediscovered Forgotten Women Artists in Florence". WSJ. Retrieved 2019-09-20.
- ↑ Moorhead, Joanna (2017-12-22). "New Renaissance: how Florence is freeing its great female artists". The Guardian. ISSN 0261-3077 . Retrieved 2019-03-06.
- ↑ Soguel, Dominique, and Nick Squires. "Out of the shadows: Historical female artists finally shine." Christian Science Monitor, 8 Feb. 2019. Opposing Viewpoints in Context, http://link.galegroup.com/apps/doc/A575061939/OVIC?u=usfca_gleeson&sid=OVIC&xid=c147b5bb . Accessed 6 Mar. 2019.
- 1 2 Fortune, Jane (2010). Invisible Women: Forgotten Artists of Florence (in English and Italian) (2. ed.). [Florence, Italy]: The Florentine Press. ISBN 9788890243455.
- 1 2 3 4 "Invisible Women wins the Emmy". The Florentine Press. Retrieved 23 January 2014.
- ↑ Seelye, Katharine Q. (2018-10-02). "Jane Fortune, Champion of Florence's Female Artists, Dies at 76". The New York Times. ISSN 0362-4331 . Retrieved 2019-09-20.
- ↑ "News - Videos". Advancing Women Artists. Retrieved 2019-03-06.