![]() Garrard handles Artemisia’s life, art and culture - both the well-known and less so - with careful scholarship and winning brio. It’s a lot and it’s awesome.Īrtemisia Gentileschi, “Susanna and the Elders” (signed and dated 1610), oil on canvas collection Graf von Schönborn, Pommersfelden, Germany And it is timely in its exploration of feminist outrage at patriarchal power, of men’s control over women’s bodies, and in the exploration of an art of anger, accusation, and even great wit. It’s timely in the sense of the aforementioned deadly and contagious illness, but also features tyranny, religious persecution and reaction. How strange that a book about the late Renaissance and Baroque would now prove so very much of our time. ![]() There’s not a little irony in reading Garrard’s lively account of a 17th-century artist’s life wherein plague is plentiful - Artemisia likely died of it - when a plague (or at least pandemic) is back on the table. A major exhibition of Artemisia’s work at the National Gallery in London had been due to open this past spring, but was put on hold on account of the pandemic and is now opening in early October. It’s more than worth waiting for, and, as it turns out, the timing is good. Mary Garrard’s compelling new book Artemisia Gentileschi and Feminism in Early Modern Europe was supposed to publish on May 1 in the United States, but (like so many things) it was delayed for months due to COVID-19, so arrived instead in mid-September. ![]() ![]() ![]() Artemisia Gentileschi and Feminism in Early Modern Europe by Mary D. ![]()
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