"In this admirable work, at once passionately argued and lucidly
written, Professor Garrard effectively considers the social,
psychological, and formal complexity of the shaping and reshaping
not only of the artist's feminine and feminist identity in the
misogynistic society of the seventeenth century, but also of that
identity in the discipline of art history today."--Steven Z.
Levine, author of "Monet, Narcissus, and Self-Reflection
"Mary Garrard's detailed investigation into attribution problems
in two Artemisia Gentileschi paintings brilliantly interweaves
connoisseurship, constructions of gender and artistic identity, and
historical analysis. The result is a richer and more nuanced vision
of the best-known female artist in western history before the
modern era, and an important contribution to feminist studies."
--Whitney Chadwick, author of "Women, Art, and Society
"In her new book, Garrard has taken two bold steps that
challenge much received opinion in the 'discipline' of art history.
Analyzing two of Gentileschi's least violent but most moving
images, Garrard argues that the painter's personality is
discernible no less in the subjects and their interpretation than
in the 'style' of the works; consideration of both aspects is
essential to understanding the meaning of these extraordinary
pictures and her authorship. Perhaps even more important, Garrard
makes crystal clear that Artemisia Gentileschi, far from a 'good
woman painter, ' was one of the major visual thinkers of her
time."--Irving Lavin, co-author with Marilyn Aronberg Lavin, of "La
Liturgia d'Amore: Immagini dal Canto dei Cantici nell'arte di
Cimabue, Michelangelo, e Rembrandt (Modena, 2000)
"Developing herearlier methodologies and revising some
conclusions, Garrard clarifies her distinct theoretical approach
and voice among feminist critiques of art history. In this text,
which reads in part like a forensic mystery, Garrard builds not
only an argument for attributions of particular works, but a new
understanding of Gentileschi herself at a particular moment in
history."--Hilary Robinson, editor of "Visibly Female: Feminism and
Art Today
"One of our most distinguished feminist art historians brings
contemporary gender studies to bear on traditional paintings
connoisseurship to show how attributions to female artists have
often been governed by tacit cultural assumptions about the
limitations of women. Her case makes compelling reading for anyone
interested in early modern society, culture, women and art in
Italy, and in the problematics of feminism and art
history."--Kathleen Weil-Garris Brandt, author of "Leonardo e la
Scultura
"By revealing a great woman painter's ways of expressing
uniqueness while negotiating expectations, Mary Garrard helps each
of us with the subtleties of remaining authentic while living in
the world. Artemisia Gentileschi around 1622 is art history to live
by."--Gloria Steinem
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