Word: gentileschi
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...Renaissance wasn't available to Susan Vreeland for her new book, The Forest Lover (Viking; 333 pages). Vreeland's previous novel was The Passion of Artemisia, about the Baroque artist Artemisia Gentileschi. Vreeland's heroine this time is the Canadian painter Emily Carr, who died in 1945, after devoting her life to painting Canada's Pacific coastal woodlands and its native tribes in a swelling, Expressionist style. For much of that time, Carr was scorned not only as a woman determined to paint but also as one who ventured into the wilderness to do it. Worse, her most beloved motif...
Carr's story has the stuff of drama; Vreeland's novel does not. She doesn't have the advantage in this book of Gentileschi's personal turmoil: her rape by one of her father's studio assistants, leading to a well-documented trial. Time and again, Carr encounters the same obstacles: hostile critics, philistine neighbors. Time and again, folks point out that she's a rebel. Eventually, she triumphs anyway. In the future, Vreeland might want to choose a more absorbing artist or give her a more complex internal life. Georgia O'Keeffe, call your agent...
...artist by any standard, and his wife Frida Kahlo, not a great painter by any reasonable judgment, but a tough and gifted woman who, owing to her hagiographic suffering (not to mention being ardently collected by the likes of Madonna), has become Exhibit A, by now somewhere above Artemisia Gentileschi in the pantheon of feminist art-saints. The live Colombian is probably the richest artist alive, the unbearably repetitious and banal Fernando Botero, 69, who has made millions, millions and millions of dollars painting and sculpting mountainously fat people over and over and over again. These sleek, bloated lumps...
...Schapiro, Judy Chicago, Nancy Spero and other U.S. artists and historians, along with colleagues in Europe, began to exhume female artists of the past. They included medieval mystics and such Renaissance artists as Cremona-born Sofonisba Anguissola, who painted at the court of Philip II of Spain, and Artemisia Gentileschi of Rome, a painter's daughter who, like her father, was influenced by Caravaggio's eye-popping naturalism. To feminist admirers, the value of these women's paintings is self-evident. But some scholars complain that the sex of an artist has nothing to do with the quality...
...idea of a feminine sensibility-fluffy, vaporous, pink-and-white-retreats before most of the work in this show, the sense of female experience does not. That theme is announced almost at once, in the work of Artemisia Gentileschi (1593-1652), the daughter of a well-known Tuscan painter, who became, as Nochlin puts it, "the first woman in the history of Western art to make a significant and undeniably important contribution to the art of her time." Gentileschi's Susanna and the Elders (1610) is a work of staggering precocity, painted when she was 17. Beauty spied...