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Index
Jesse M. Locker
Description: Artemisia Gentileschi: The Language of Painting
Artemisia Gentileschi: The Language of Painting
Index
Author
Jesse M. Locker
PublisherYale University Press
Copyright© 2015 by Jesse M. Locker
Stable URL: https://aaeportal.com/?id=-19931
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Index
academies, 9–11, 44–45, 50–53, 57–61. See also specific academies
Accademia de’ Desiosi, 57–59, 93, 97
Accademia degli Incogniti:
founder of (see Loredan, Gian Francesco)
gatherings and activities, 60, 66–67
members, 45, 46, 54, 57, 59, 66, 93
on the nature and status of women, 66–67, 70–73, 85–86
and transvestitism, 83, 84, 97–98
Accademia degli Informi, 51–53
Accademia degli Oziosi, 6, 10, 59, 103, 125, 155, 158–159
Accademia degli Unisoni, 60
Achilles, 83–84, 97
Achilles Discovered by Ulysses Among the Daughters of Lycomedes (Rubens), 83, 83
Achillini, Claudio, 114
Adoration of the Magi, 1636–37 (Artemisia), 175, 176
Adoration of the Shepherds, The (Reni), 118, 118
Aikema, Bernard, 44, 46, 54, 55, 68, 91, 92–93
Alcalá, Duke of, 15, 19–24, 26, 27, 36, 40, 43, 44, 206n21
Allegory of Inclination, 1615–16 (Artemisia), 132, 133, 133, 170
Allegory of Painting, 1638–39 (Artemisia), 131–132, 132
Allori, Cristofano, 5, 133, 137–138, 143–145, 144
amber varnish, 116
Anguissola, Sofonisba, 15, 27
Annunciation (Finoglio), 41, 41–42
Annunciation, 1630 (Artemisia), 12, 14, 36–43, 37, 75, 114, 117, 149, 150
Annunciation (Pulzone), 38, 39, 40
Apelles, 104–105, 114
Apollo Killing the Python (Artemisia), 105, 106
Apollo with a Lyre (Artemisia), 104, 105–106
art and diplomacy, 16–18, 25–26, 43
Artemisia Gentileschi:
The Image of the Female Hero in Italian Baroque Art (Garrard), 1–2
Artemisia of Halicarnassus, Queen, 52, 129
Assumption of the Virgin (Annibale Carracci), 119–120, 120
Assumption of the Virgin (Stanzione), 119, 119–120
Aurora, 111–114
Aurora, c. 1625–27 (Artemisia), 70, 112, 113
Averani, Benedetto, 168
Baglione, Giovanni, 3, 28, 40, 100, 167, 169
Baldinucci, Filippo:
account of Artemisia’s death, 178
on Artemisia as still-life painter, 62, 64
on Artemisia’s fame, 100
on Artemisia’s singing and dancing, 137–138
on Aurora, 112, 170–171
research and inquiries of, 167–168, 185
on Romanelli and Artemisia, 177
Ballo delle Zingare (Dance of the Gypsy Women, Caccini), 137–140
Banti, Anna, 12, 101
Barbarigo, Niccolò, 54–55, 56
Barberini family, 23, 24, 45–46, 62, 63, 148–149, 183. See also Cassiano dal Pozzo
Barocci, Federico, 117
Basile, Adriana, 105, 106–107, 107
Basile, Giambattista, 26
Basile, Giovan Battista, 121
Bathsheba, c. 1636 (Artemisia), 13, 114, 115, 118
Beheading of St. Januarius, 1636 (Artemisia), 175, 175
bel colorito guidesco, 117–118
Bell, Janis, 114
Bellori, Giovan Pietro, 8, 117, 169
Benamati, Guid’Ubaldo, 48, 54–56, 187–188
Benzoni, Gino, 60
Berenice (Padovanino), 85
Berger, Harry, 146
Bernini, Gian Lorenzo, 29, 166
Biagioli, Mario, 20
Biffi, Alessandro, 133–134, 155
biographies of Artemisia, 161–180
on altarpieces for the Cathedral of Pozzuoli, 174
on Artemisia as Pisan, 166–167, 214n19
on Artemisia’s death and epitaph, 178–180, 217n110
Artemisia’s fame in Tuscany, 161, 171–172, 182, 186
biographers, 161, 167–169
on Judith and Holofernes, 170–175
on Sleeping John the Baptist, 175–176
on still life painting, 177–178
on Susanna and the Elders, 169–170
Birth of St. John the Baptist, c. 1633 (Artemisia), 12, 15, 16, 31–32, 122–123
Birth of the Virgin (Guarino), 122–123, 124
Birth of the Virgin (Vouet), 32
birth scenes, tradition of, 31–32
Bisaccioni, Maolino, 98
Bissell, R. Ward, 22, 34–35, 46, 51, 57, 74, 96, 98–99, 100, 126, 132, 148, 149, 152, 179, 180, 214n4
Blue Bowl with Strawberries and Pears (Garzoni), 64
Bolgi, Andrea, 102, 155
Bolognese school, 117–118, 119–120
Bonamin, Lucrezia, 94, 96
Borean, Linda, 94
Bottari, Giovanni, 168
Bozzolini, Carlo, 173, 173
Brown, Jonathan, 24
Buonarroti the Younger, Michelangelo, 5, 10, 138, 142, 170
Buoninsegni, Francesco, 69, 70, 71
Busenello, Gian (Giovanni) Francesco, 51, 57, 58, 86, 97
Caccini, Francesca, 137, 138, 139, 211n33
Canale, Giovanni, 102–103, 106
Cappone, Francesco Antonio:
and Accademia degli Oziosi, 103
and acquaintance with Artemisia, 104, 105
on Artemisia as woman painter, 154
on Artemisia’s use of color, 112, 117, 118
on his debt to Marino, 207n62, 213n112
poems as reflection of Artemisia’s career in Naples, 100–101
on recitation of poems, 155
Caracciolo, Battistello, 38
Caravaggio:
Cardsharps, 212n47
as colorist, 114, 117
Fortune Teller, 136, 137, 140, 141–142
Madonna di Loreto, 40, 40
portrait of Marino, 147
Sleeping Love, 48, 200n18
Caravaggism:
Artemisia and, 1–2, 3, 4, 11–12, 19, 40, 42, 75, 117, 133, 145, 170
Orazio and, 2–3, 8
Carracci, Agostino, 109, 204n30
Carracci, Annibale, 8, 11, 85, 119–120, 120, 153
Carracci, the (Carracci family), 35, 119, 165
Carracci school/tradition, 12, 118, 119, 120
Carriera, Rosalba, 42
Cassiano. See Dal Pozzo, Cassiano
Castiglione, Baldesar, 61, 125, 202n93
Cathedral of Pozzuoli, 175
Cavallino, Bernardo, 117, 118, 119, 119, 121–122, 122, 168
Cecchini, Isabella, 94
Chaney, Edward, 202n92
Christ and the Samaritan Woman, 1637 (Artemisia), 4, 89, 89, 101, 114, 117
Christ Blessing the Children, 1626–27? (Artemisia), 23, 183
Christiansen, Keith, 7, 12, 35, 82, 133, 134, 143, 144, 199n113, 210n21
Cicognini, Jacopo, 5, 137, 142
Cicognini, Lisabella, 137, 142
Cigoli, Ludovico, 79, 80, 130, 131
Il Cimiterio:
Epitafi giocosi (Loredan and Michiele), 64–67
Cioli, Andrea, 184
Cleopatra, 68, 71, 97, 114
Cleopatra, c. 1635 (Artemisia), 114, 115
Clio, Muse of History, 1632 (Artemisia), 78, 101, 117, 132
Codazzi, Viviano, 118
Colantuono, Anthony, 17
Collurafi, Antonino, 51–53, 200n35, 213n95
color, Artemisia and:
Aurora analogy, 111–114
De Dominici on (bel colorito guidesco), 117–118
influence on other artists, 119–123
paintings that demonstrate, 30, 114–116
techniques and colors used, 116–117
Contini, Roberto, 74, 129, 185, 208n93
Conversion of the Magdalene, 1615–16 (Artemisia), 3, 143, 143, 183
Corisca and the Satyr, 1636–37 (Artemisia), 87–90, 88, 114
Costa, Patrizia, 53, 62, 64
Cratesicleia (Padovanino), 84
Cremonini, Cesare, 46, 51, 57
Croce, Benedetto, 90, 104, 166
Cropper, Elizabeth, 7, 40–41, 110, 132, 134
Cusick, Suzanne, 211n33
Dal Pozzo, Carlo, 129
Dal Pozzo, Cassiano:
Artemisia’s letters to, 16, 22, 24, 25, 26, 146–147, 148, 158–159, 168–169, 175–176, 183, 184
and Vouet portrait of Artemisia, 20, 129
Da Morrona, Alessandro, 163–164
account of Artemisia’s death, 178–179
on Artemisia’s birthplace, 166
on Artemisia’s letters, 162, 168
on Artemisia’s paintings, 162, 164, 170–171, 175, 177
Pisa illustrata, 162, 169, 178
David, Jérôme, 20, 20, 56, 56–57, 61–62, 126, 134, 148
Death of Sophonisba (Régnier), 91, 92
Decapitation of St. John the Baptist (Stanzione), 31
De Dominici, Bernardo, 117, 121, 122, 168, 176, 185, 209n109
Della eccellenza et perfettione ammirabile della donna (Pona), 92–93, 96
Della Monica, Ilaria, 88
Della Vecchia, Pietro, 91–92, 92, 93, 203n120
Delle acutezze (Pellegrini), 146
Dempsey, Charles, 35
“devout” style/manner. See maniera devota
Díaz del Valle, Lázaro, 22, 31
disgust or revulsion (ribrezzo), 173–174
diplomacy and art, 16–18, 25–26, 43
disegno, 28, 29, 55, 170
Domenichino, 121
donne forti ed intrepidi (powerful and intrepid women), 68–99
Artemisia’s depictions of, 68–70, 98–99
Corisca and the Satyr, 1636–37 (Artemisia), 87–90, 88
Esther Before Ahasuerus, c. 1627–30 (Artemisia), 78–83
Hercules and Omphale (Artemisia), 83–84
Joseph and Potiphar’s Wife, 1650s, 90
Judith, 92–96
Medea, 1620s? (Artemisia), 86–87, 87
opera and, 97–98
Padovanino’s portrayal of, 85–86
portrayals of (1630–70), 91–92, 97–99
Samson and Delilah, c. 1635 (Artemisia), 90, 91
donne infami (notorious women), 86–90, 98–99
Dou, Gerrit, 141, 141
Duet (Mieris), 141, 141
Dumonstier, Pierre, 20, 20, 112, 114, 208n89
epitaphs, 45, 64–67, 178, 179, 217n110
Ercole in Lidia (Herrico, Bisaccioni), 98
Esengren, Philip, 57–58
Esther Before Ahasuerus, c. 1627–30 (Artemisia), 72, 73–83, 79
compared to Palazzo Barberini self-portrait, 150–151, 151
condition and dating of, 73
role reversal in, 78–83
Venetian provenance of, 73–76
and Veronese, 73–74, 75–76, 78–79
Esther Before Ahasuerus (Veronese), 73–74, 74
Eumenes and Roxana (Padovanino), 85, 86
Evelyn, John, 59–60
Fabroni, Angelo, 164–165
Family of Darius Before Alexander (Veronese), 92, 94
“feminine” style, 28–32, 42–43. See also maniera devota (devout style/manner)
feminism, 69, 72–73, 98–99, 174, 182
Ferdinando II de’ Medici, 84, 104
Fictions of the Pose (Berger), 146
Filomarino, Alfonso, 176
Finoglio, Paolo, 31, 41, 41–42
finzione palese (blatant fiction), 146–147
Florence and Florentine period:
Allori and transformation of Artemisia’s art, 143–145
Artemisia and the literary culture of, 142–143
Artemisia in (overview), 3–4, 5
Artemisia’s self-portraits, 130–147
evidence of Artemisia’s success in, 185
Florentine art and the Spanish court, 29
Self-Portrait as a Lute Player, 1615–17, 127, 129–130, 136–142
Fontana, Lavinia, 26, 27, 29–30, 131, 131
Fontanella, Girolamo:
on his debt to Marino, 207n62, 213n112
on his own portrait, 49, 153–154, 157–158
paintings mentioned in the poems, 105–107, 109–110, 110–111, 112
poems dedicated to Artemisia, 52, 72, 102, 103–105, 141, 147, 155–156
Fortune Teller (Manfredi), 137, 138
Fortune Teller (Régnier), 137, 138
Fortune Teller (Vouet), 137, 138
fortune tellers, paintings of, 137–142
Freundschaftsbild, 152–153
Fried, Michael, 145
friendship as theme, 54–56
Fumaroli, Marc, 158
Galatea, 108
Galeria (Marino), 46, 71, 107, 144, 158–159
galleria, use of term, 158
Ganière, Jean, 48–49, 49
Gargiulo, Domenico, 118
Garrard, Mary, 1–2, 24, 42, 53, 61, 78, 98, 108, 112, 130, 137, 156–157, 180, 210n21, 217n110
Garzoni, Giovanna, 24, 63–64, 64
Gaudiosi, Tommaso, 102, 103, 106
Gentileschi, Artemisia:
affair with Maringhi, 4, 65
art education, 1, 3
biographies of (see biographies)
children, 3, 61, 137, 142, 166, 184, 185
death and burial of, 178–180, 185
disparity between modern and seventeenth-century responses to art of, 11–13
exhibitions, 100
father (see Gentileschi, Orazio)
in Florence (see Florence and Florentine period)
husband, 3–4, 9
legacy of, 1–2, 185–186
life of (overview), 2–5
likenesses of/portraits of, 20, 20, 21, 56, 56–57, 112, 114, 126, 129, 129, 208n89 (see also self-portraits (Artemisia))
literacy of, 5, 6–9, 61
literary works dedicated to (see Neapolitan poets and Artemisia; Venetian literary works dedicated to Artemisia)
in London, 4
measuring the success of, 181–185
as musician/versifier, 50, 60–61, 137–140, 211n33
in Naples (see Naples and Neapolitan period)
rape and trial, 1, 3, 6–7, 11
in Rome, 3, 4, 5, 15–16, 19–20, 22, 182–183
Spanish patrons (see Spain and Spanish patrons)
in Venice (see Venice and Venetian period)
works: Adoration of the Magi, 1636–37, 175, 176
Allegory of Inclination, 1615–16, 132, 133, 133, 170
Allegory of Painting, 131–132, 132, 150
Annunciation, 1630, 12, 14, 36–43, 37, 75, 114, 117, 149, 150
Apollo Killing the Python, 105, 106
Apollo with a Lyre, 104, 105–106
Aurora, c. 1625–27, 70, 112, 113
Bathsheba, c. 1636, 13, 114, 115, 118
Beheading of St. Januarius, 1636, 175, 175
The Birth of St. John the Baptist, c. 1633, 12, 15, 16, 31–32, 122–123
Christ and the Samaritan Woman, 1637, 4, 89, 89, 101, 114, 117
Christ Blessing the Children, 1626–27?, 23, 183
Cleopatra, c. 1635, 114, 115
Clio, Muse of History, 78, 101, 117, 132
Conversion of the Magdalene, 1615–16, 3, 83, 143, 143
Corisca and the Satyr, 1636–37, 87–90, 88, 114
Esther Before Ahasuerus, c. 1627–30, 72, 73–83, 79
Head of a Saint, 216n75
Hercules and Omphale, 15, 23, 82, 83–84, 85, 90, 98, 183
Jael and Sisera, 1620, 82, 82, 143
Joseph and Potiphar’s Wife, 1650s, 90
Judith and Her Maidservant, c. 1618–19, 143, 143, 205n77
Judith and Her Maidservant, c. 1640–45, 94–96, 96, 205n77
Judith and Her Maidservant, c. 1645–50, 94–96, 95, 205n77
Judith and Holofernes, c. 1620, 93, 170–175, 172
Judith and Maidservant with the Head of Holofernes, c. 1623–25, 74, 77, 94
Lot and His Daughters c. 1636–38, 114, 116, 122
Lucretia, c. 1612–13, 11, 46–47, 47, 55, 86, 133, 134
Lucretia, c. 1630–35 (or Stanzione), 121, 121
Madonna and Child, 1613, 34, 34–35
Madonna and Child, 1616–18, 34, 34–35
Medea , 1620s?, 86–87, 87
Portrait of Adriana Basile, 106–107
Portrait of a Gonfaloniere, 1622, 17, 19, 74, 79
Portrait of Girolamo Fontanella, 106
Saint Catherine of Alexandria, 1618–19, 134, 135
Saint Cecilia Playing the Lute, c 1620, 139, 140
Saints Proclus and Nicea, 1636–37, 175, 176
Samson and Delilah, c. 1635, 90, 91
self-portrait (Naples, between 1632 and 1640), 107
Self-Portrait, 1630–35 (Palazzo Barberini), 125, 126, 128, 147–153, 150, 156–158
Self-Portrait as a Lute Player, 1615–17, 125, 126, 127, 129–130, 134, 135, 136–142
Self-Portrait as Female Martyr, 210n21
Self Portrait as Pittura, 1612–13?, 132, 133, 133, 134, 210n17
Sleeping Child, 48–49, 49, 54
Sleeping John the Baptist, 175–176, 177
Sleeping Love, 46, 48–49, 54, 59, 73
Still Life with Female Painter (Attributed to Artemisia Gentileschi and Francesco Romanelli), 63
St. Januarius in the Amphitheater, 1636, 12, 175, 175
Susanna and the Elders, 1610, 48, 48
Susanna and the Elders, 1622, 17, 19, 48
Susanna and the Elders, 1652, 162, 163, 169–170, 175
Susanna and the Elders, c. 1636–38 (or Bernardo Cavallino), 118, 119
Triumph of Galatea (or Cavallino), 122
Virgin and Child with a Rosary, c. 1620, 32, 33, 34–35
Virgin Annunciate, c. 1612 (attributed to), 35, 35
Gentileschi, Orazio (Artemisia’s father):
as Artemisia’s teacher, 1, 167
in Benamati’s poetry, 56
birthplace of, 166
as diplomat, 17–18
as painter, 1, 2–3, 173, 174
and send-up of Baglione, 3, 8
Giovanni, Giovanni da San, 88–89
Goldberg, Edward, 17, 29
Graham, Richard, 100, 184
Gregori, Mina, 62, 140, 177
Gualdo, Girolamo, 62–64
Guarini, Battista, 87–88, 90
Guarino, Francesco, 102, 122, 122–123, 124
Guazzo, Stefano, 9, 61, 158
Guercino, 10, 12, 19, 35–36, 36
Guidoni, Giovan Battista, 210n17
gypsies, 137–142
Gypsy Fortune Teller (Spada), 80, 80
Head of a Saint (attributed to Artemisia), 216n75
Heller, Wendy, 97, 205n92
Hercules and Omphale (Artemisia), 15, 23, 82, 83–84, 85, 90, 98, 183
Herrico, Scipione, 98
Hersey, George, 48
Holy Family with St. John (Fontana), 26, 27, 29–30
Holy Family with the Infant Saint John and Saint Anne (Pulzone), 34, 34–35
Honthorst, Gerrit van, 136, 136, 137
Hugford, Ignazio Enrico, 216n75
Immaculate Conception, The (Reni), 36, 36
Incoronazione di Poppea (Monteverdi), 97
Interrupted Rendezvous (Manetti), 74, 76
Ivanoff, Nicola, 7, 50
Jael and Sisera, 1620 (Artemisia), 82, 82, 143
Jameson, Anna Brownwell, 174
John of Leyden (Jones), 80, 81
Jones, Inigo, 80, 81
Joseph and Potiphar’s Wife (Cigoli), 79, 80
Joseph and Potiphar’s Wife, 1650s (Artemisia), 90
Judith, 92–96, 205n77
Judith and Her Maidservant, c. 1618–19 (Artemisia), 143, 143, 205n77
Judith and Her Maidservant, c. 1640–45 (Artemisia), 94–96, 96, 205n77
Judith and Her Maidservant, c. 1645–50 (Artemisia), 94–96, 95, 205n77
Judith and Holofernes (Bozzolini, Vascellini, engraving after Artemisia Gentileschi), 173, 173
Judith and Holofernes, c. 1620 (Artemisia), 93, 170–175, 172
Judith and Maidservant with the Head of Holofernes, c. 1623–25 (Artemisia), 74, 77, 94
Judith with the Head of Holofernes (Allori), 144, 144
Judith with the Head of Holofernes (Cavallino), 122, 122
Judith with the Head of Holofernes (Stanzione), 94, 121, 121
Junius, Franciscus, 108
Kagan, Richard, 24
lace, 149–151, 150, 151
Lady Playing a Clavichord (Dou), 141, 141
Lanfranco, Giovanni, 23, 100, 183
Lanier, Nicolas, 116, 201n69
Lanzi, Luigi, 162, 164, 166, 171, 173, 176–177
Lapierre, Alexandra, 44, 51, 53, 180
Lastri, Marco, 166, 172–173, 173–174, 180
Lattuada, Riccardo, 2, 38, 103, 122
Leiva, Gloria Martìnez, 34
Lemoine, Annick, 68, 91
Leyster, Judith, 130, 131
Lichtenstein, Jacqueline, 28
Lingo, Stuart, 28
Lister, Susan Madocks, 17
literacy, 5, 6–9, 61
Longhi, Roberto, 149, 161, 174, 180, 181
Loredan, Gian Francesco:
and Accademia de’ Desiosi, 57, 58, 59
and Accademia degli Incogniti, 44, 45, 46
and anonymous poems to Artemisia, 46, 60, 154
on Artemisia’s participation in academies, 60
letters to Artemisia, 6, 7, 50–51, 53, 160
mock epitaphs for Artemisia, 64–67
and Padovanino, 58
Scherzi geniali, 87, 97
views on women, 66–67, 68, 70, 82–83, 97
Lot and His Daughters c. 1636–38 (Artemisia), 114, 116, 122
Lucretia, 46–48, 69, 71, 78
Lucretia, c. 1612–13 (Artemisia), 11, 46–47, 47, 55, 86, 133, 134
Lucretia, c. 1630–35 (Artemisia or Stanzione), 121, 121
Lumaga, Giovanni Andrea (Lumaga family), 94–96
lyric poetry, 8, 46, 153–156
Madonna and Child (Guercino), 35–36, 36
Madonna and Child, 1613 (Artemisia), 34, 34–35
Madonna and Child, 1616–18 (Artemisia), 34, 34–35
Madonna di Loreto (Caravaggio), 40, 40
Maffeis, Rodolfo, 185
Mancini, Giulio, 11, 137, 140
Manetti, Rutilio, 74, 75, 76
Manfredi, Bartolomeo, 19, 137, 138
maniera devota (devout style/manner), 28, 32–36
Mann, Judith, 7, 86, 94–95, 126, 136, 210n21
Maria, empress of Austria, 25–26
Marinella, Lucrezia, 69–72, 81–82, 83, 84, 90, 91, 98, 99, 104
Maringhi, Francesco Maria, 4, 65
Marino, Giambattista (Giovan Battista):
on Accademia degli Oziosi meetings, 59
Adone, 142
and arrow analogy, 111
Fontanella and Cappone’s indebtedness to, 207n62, 213n112
Galeria, 46, 71, 107, 144–145, 158–159, 200n20
on Guido Reni’s Massacre of the Innocents, 47
on poet and painter, 104
and Pygmalion, 108
Marshall, Christopher, 182
Martini, Simone, 108, 153
Masinissa and Sophonisba (Manetti), 74, 75
Mason, Stefania, 94
Medea, 1620s? (Artemisia), 86–87, 87
Medici, Averardo de’:
on altar-pieces for the Cathedral of Pozzuoli, 175
on Artemisia’s death and burial, 178–180, 185
on Artemisia’s letters, 168–169
biography of Artemisia, 161, 164, 164–166, 188–194
on Judith and Holofernes, 170–171
on Sleeping John the Baptist, 175
on still life painting, 177–178
on Susanna and the Elders, 162, 169–170
Medici court, 17–18, 104, 130, 136, 137, 140, 159
Meeting of Christ and St. John the Baptist (Reni), 118, 118
Memorie istoriche de più uomini illustri pisani, 164, 164–165
Michelangelo, 28
Michiele, Pietro, 51, 55, 57, 64–67
Mieris, Frans van, 141, 141
Milan exhibition (2011), 100
Miranda, Girolamo de, 103
Modesti, Adelina, 169–170
Montaigne, Michel de, 8, 61
Monterrey, Count of, 15, 184
Monteverdi, Claudio, 97
Muir, Edward, 66, 97
Naples and Neapolitan period:
academies (See Accademia degli Oziosi)
Annunciation (Artemisia), 36–43
Apollo Killing the Python (Artemisia), 106
Apollo with a Lyre (Artemisia), 105–106
art and diplomacy in Neapolitan court, 18, 43
Artemisia in (overview), 4–5, 6, 100–102
Artemisia’s influence on other artists, 119–123
evidence of Artemisia’s success in, 183–185
female artists and the Spanish monarchy, 23–27
influence of Artemisia’s use of color in, 117–124
nature of “influence” in Neapolitan painting, 40–41
Palazzo Barberini Self-Portrait (Artemisia), 128, 147–153
poems written to Artemisia (see Neapolitan poets and Artemisia)
Portrait of Adriana Basile (Artemisia), 106–107
Portrait of Girolamo Fontanella (Artemisia), 106
self-portrait (Artemisia), 107
Neapolitan poets and Artemisia, 100–124
arrow metaphor, 110–111
and Aurora analogy, 111–114
painting and the language of love in poems to Artemisia, 108–110
paintings written about, 105–107
Palazzo Barberini self-portrait as tribute to poets, 152–153. See also Cappone, Francesco Antonio; Fontanella, Girolamo
New York Times, 12
Nove cieli (Fontanella), 103–104
Ode (Fontanella), 103, 104
Old-Fashioned Courtiers (Jones), 80, 81
opera, 97–98
oral culture/tradition, 7–9, 59–61
Pacheco, Francisco, 19, 22, 27, 28, 29–30
Padovanino, 57–59, 58, 84, 85, 85–86, 86
painter-poet rivalry (paragone), 156–158
painters as deceivers and conjurers, 141–142
painting and poetry. See poetry
painting and the language of love, 108–110
Pallucchini, Rodolfo, 85
Palumbo, Onofrio, 185
Papi, Gianni, 62
paragone, 156–158
Passeri, Giovanni Battista, 11, 29, 167
Passi, Giuseppe, 70, 71, 82–83
Pastor Fido, Il (Guarini), 87–88
Pellegrini, Matteo, 146, 147
Petrarch, 7, 8, 46, 102, 108, 111, 142, 153, 154, 156
Petronius and Coelius, 54–56
Philip II, king of Spain, 27, 29–30, 198n81
Philip IV, king of Spain, 18, 22–23, 31, 83
Pighetti, Giacomo, 46, 48, 51, 54, 58, 69, 73
Pirrey, Nicolas, 107, 107
Pisa exhibition (2013), 100
Pisa illustrata (Da Morrona), 162, 169, 178
Pisan art and artists, 164–165, 166–167, 171–172, 180
Piscopia, Lucrezia Cornaro, 60
Pliny, 108
poetry:
arrow metaphor, 110–111
to Artemisia (see Neapolitan poets and Artemisia; Venetian literary works dedicated to Artemisia)
Fontanella on similarities of poems and painting, 104–105
oral tradition of, 7–9, 59–61
painter-poet rivalry (paragone), 156–158
and painting and the language of love, 108–110, 152–153
praising an artist for bringing subjects to life only to kill them again as device, 47
ravishment of the eye, 114
relationship between portraiture and lyric poetry, 153–155
as requests for paintings, 104
women painters and, 108, 109, 111, 153–154. See also academies
Pona, Francesco, 71, 92–93, 96, 203n9
Portrait Medal of Artemisia Gentileschi, 20, 20
Portrait of Adriana Basile (Artemisia), 106–107
Portrait of a Gonfaloniere, 1622 (Artemisia), 17, 19, 74, 79
Portrait of Artemisia Gentileschi (David, after Artemisia Gentileschi), 20, 20, 56–57, 126
Portrait of Artemisia Gentileschi (Vouet), 20, 21, 129, 129
Portrait of Girolamo Fontanella (Artemisia), 106
Portrait of Pier Maria Romolo Saracini (Manetti), 74, 76
Portrait of the Artist with Cap and Gold Chain (Rembrandt), 146, 146
portraiture:
and lyric poetry, 153–155
and paragone, 156–158. See also self-portraits (Artemisia)
Poussin, Nicolas, 151, 159–160, 160
prostitutes, portrayal of, 136–137
Pulzone, Scipione, 28, 34, 34–35, 38, 39, 40, 198n81
Puppi, Lionello, 62
Pygmalion, 108
questione della donna, 70–73, 78–83, 99
ravishment of the eye, 114
Régnier, Nicolas:
Death of Sophonisba, 92
The Fortune Teller, 137, 138
paintings of powerful women, 68, 91
Self-Portrait with an Easel, 151, 152
and Trevisano and Barbarigo, 54, 55, 56, 57
Rembrandt van Rijn, 2, 136, 146, 146, 185
Rena, Orazio della, 17, 25
Reni, Guido, 36, 36, 47, 114, 117–118, 118, 146, 176–177, 209n109
Renzi, Anna, 60
Reymes, Bullen, 184
Ribera, Jusepe de, 18, 19, 22, 24, 26, 27, 36, 102
ribrezzo (disgust or revulsion), 173–174
Ridolfi, Carlo, 57, 73
Right Hand of Artemisia Gentileschi Holding a Brush (Dumonstier), 20, 20, 112, 114
Rinaldis, Aldo de, 117
Ripa, Cesare, 133, 134
Rodríguez Rebollo, Ángel, 34
Romanelli, Francesco, 63, 149, 168, 177
Ronsard, Pierre de, 113–114
Rousseau, Jean-Jacques, 169
Rubens, Peter Paul, 17, 18, 83, 83, 131, 131
Ruffo, Antonio, 34, 41, 159, 184–185
Ruggiero and Alcina (Manetti), 74, 75
Saint Catherine of Alexandria, 1618–19 (Artemisia), 134, 135
St. Cecilia (Guarino), 122, 123
Saint Cecilia Playing the Lute, c. 1620 (Artemisia), 139, 140
St. Christina the Astonishing (Guarino), 122, 122
S. Giovanni de’ Fiorentini, 178–180, 217n110
St. Januarius in the Amphitheater, 1636 (Artemisia), 12, 175, 175
St. John the Baptist Bids Farewell to His Parents (Stanzione), 30
Saints Proclus and Nicea, 1636–37 (Artemisia), 175, 176
Samson and Delilah, c. 1635 (Artemisia), 90, 91
Sandrart, Joachim von, 100, 121, 167, 169, 178
Scherzi geniali (Loredan), 87, 97
Schütze, Sebastian, 103, 119–120
Self-Portrait (Cigoli), 130
Self-Portrait (Leyster), 130
self-portrait (Naples, between 1632 and 1640) (Artemisia), 107
Self-Portrait (Padovanino), 58
Self-Portrait (Poussin), 159–160, 160
Self-Portrait, 1630–35 (Palazzo Barberini) (Artemisia), 125, 126, 128, 147–153, 150, 156–158
Self-Portrait as a Lute Player, 1615–17 (Artemisia), 127, 129–130, 134, 136–142
Self-Portrait as Female Martyr (Artemisia), 210n21
Self Portrait as Pittura, 1612–13? (Artemisia), 132, 133, 133, 210n17
Self Portrait at the Age of 34 (Rembrandt), 146, 146
Self-Portrait at the Spinet (Fontana), 131, 131
self-portraits (Artemisia), 125–160
Allegory of Inclination, 1615–16, 132, 133, 133
Allegory of Painting, 131–132, 132
ambiguity and disguise in, 130–136, 140–145
and the galleria, 158–160
identification of, 126, 129–130, 148–150
and painter-poet rivalry (para-gone), 156–158
Palazzo Barberini Self-Portrait, 156–158
relationship between portraiture and lyric poetry, 153–155
Saint Catherine of Alexandria, 1618–19, 134, 135
Saint Cecilia Playing the Lute, c 1620, 139, 140
Self-Portrait, 1630–35 (Palazzo Barberini), 128, 147–153, 150
Self-Portrait as a Lute Player, 127, 129–130, 136–142, 145
Self-Portrait as Female Martyr, 210n21
Self Portrait as Pittura, 1612–13?, 132, 133, 133, 134, 210n17
theatricality in, 145–147
Self-Portrait with an Easel (Régnier), 151, 152
Self-Portrait with Hat (Rubens), 131, 131
Sellitto, Carlo, 38
Semiramis Called To Arms (Della Vecchia), 92
Sigüenza, José de, 29, 30
Sleeping Child (Ganière, after Artemisia Gentileschi), 48–49, 49, 54
Sleeping John the Baptist (Artemisia), 175–176, 177
Sleeping Love (Artemisia), 46, 48–49, 54, 59, 73
Sleeping Love (Caravaggio), 200n18
Sluijter, Eric Jan, 141
Smiling Girl, a Courtesan Holding an Obscene Image (Honthorst), 136, 136, 137
Sohm, Philip, 28, 42, 207n78
Soldani, Jacopo, 10, 142
Solimena, Francesco, 102, 185
Solinas, Francesco, 2, 3–4, 7
Soprani, Raffaello, 167
Spada, Lionello, 80, 80
Spain and Spanish patrons, 15–43
Artemisia and the maniera devota, 32–43
Duke of Alcalá, 19–23
female artists and the Spanish monarchy, 23–27
preference for “feminine” and “devout” styles of painting, 28–32
presence and influence in the Italian peninsula, 15–16
Spear, Richard, 15, 19, 99, 102, 182, 184
Stanzione, Massimo:
Artemisia’s influence on, 117, 119–121, 122, 168, 209n115
Decapitation of St. John the Baptist, 31, 31
Judith and the Head of Holofernes, 94, 121, 121
Lucretia, 121, 121
poem devoted to, 102
St. John the Baptist Bids Farewell to His Parents, 30
Stiattesi, Pierantonio (Artemisia’s husband), 3–4, 9
still life painting, 62, 177–178
Still Life with Female Painter (Attributed to Artemisia Gentileschi and Francesco Romanelli), 63
Storia pittorica (Lanzi), 162, 171
Strozzi, Barbara, 60, 66
Sullam, Sara Coppio, 60, 66
Susanna and the Elders, 1610 (Artemisia), 48, 48
Susanna and the Elders, 1622 (Artemisia), 17, 19, 48
Susanna and the Elders, 1652 (Artemisia), 162, 163, 169–170, 175
Susanna and the Elders, c. 1636–38 (Artemisia or Bernardo Cavallino), 118, 119
Tarabotti, Arcangela, 58, 60, 66, 67, 69, 70–71, 72–73, 98
Tassi, Agostino, 3, 6–7, 9, 11, 137, 167
Teatro delle glorie della signora Adriana Basile (Pirrey), 107, 107
Tempesti, Ranieri, 161, 165, 166, 180, 214n19
Thalia, 50, 60, 138
Theoxena of Thessaly (Padovanino), 84, 86
Timoclea Before Alexander the Great (Della Vecchia), 91–92, 93
Tinelli, Tiberio, 64, 68, 91
Tinghi, Cesare, 137, 138–140, 211n33
Tintoretto, Marietta, 27
Titian, 18, 44, 86, 117, 145, 146
impresa of, 52–53
Tomyris of Persia (Padovanino), 85
transvestitism, 83, 84, 97–98
Trevisano, Marco, 54–55, 56
Triumph of Galatea (Cavallino or Artemisia), 122
Tuscany, Artemisia’s fame in, 6, 161, 169, 171–172, 180, 182
Urban VIII, 19, 22
Valerius Maximus, 56
Valone, Carolyn, 68, 85
Vasari, Giorgio, 18, 30, 40, 161, 172, 186
Vascellini, Gaetano, 173, 173
Velázquez, Diego, 17–18, 26, 198n79
Venetian literary works dedicated to Artemisia, 45–67
amorous language in, 46, 50
anonymous poems, 45–50, 154
Benamati’s poetry, 54–56
Collurafi’s poems and letter, 51–53
epitaphs by Loredan and Michiele, 64–67
Loredan’s letters, 50–51, 53
Venice and Venetian period:
Artemisia in (overview), 4, 6, 44–45
Artemisia’s changing use of color in, 114–117
evidence of Artemisia’s success in, 183
Gualdo’s problematic account of, 62–64
literary academies, 50, 57–61
nature and status of women and the Accademia degli Incogniti, 70–73, 82–83
and opera, 97–98
and origins of Esther Before Ahasuerus, c. 1627–30 (Artemisia), 73–76
portrayals of powerful and intrepid women (see donne forti ed intrepidi); writings to and about Artemisia (see Venetian literary works dedicated to Artemisia)
Venusti, Marcello, 28, 198n81
Veronese, Paolo, 44, 73–74, 74, 75–76, 78–79, 92, 94
Virgin and Child with a Rosary, c. 1620 (Artemisia), 32, 33, 34–35
Virgin Annunciate, c. 1612 (attributed to Artemisia), 35, 35
Vouet, Simon, 52
The Birth of the Virgin, 32
The Fortune Teller, 137, 138, 140
and Palazzo Barberini Self-Portrait, 149–150
Portrait of Artemisia Gentileschi, 20, 21, 129, 129, 150, 151
women:
in Accademia degli Incogniti, 66–67
Artemisia and feminism, 69, 72–73, 98–99, 174, 182
nature and status of women, 70–72, 169
poetry and women painters, 108, 109, 111
portrayals of infamous women, 86–90
portrayals of powerful and intrepid women (see donne forti ed intrepidi)
typological categories of, 71
women artists:
in early 17th century, 1
and “feminine” style of painting, 28–32
and the Spanish monarchy, 23–27
Zayas y Sotomayor, María de, 24–25
Zeri, Federico, 38
Zingaresca (theatrical genre), 140
Zuccaro, Federico, 17, 18