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Garrard, Mary D., Angouissola and the Problem of the Woman Artist, Renaissance Quarterly 24, 1994. Zwanger, Meryl, Women and Art in the Renaissance, in: Sister, Columbia University 1995/6. Judith Brown. Gender and Society in Renaissance Italy (Women And Men In History). 1998; Letizia Panizza, Women in Italian Renaissance Culture and Society.
The first full, factual account of Artemisia's life, The Image of the Female Hero in Italian Baroque Art, was published in 1989 by Mary Garrard, a feminist art historian. She then published a second, smaller book entitled Artemisia Gentileschi around 1622: The Shaping and Reshaping of an Artistic Identity in 2001 that explored the artist's work ...
Pages in category "Sculptures of women in Italy" The following 26 pages are in this category, out of 26 total. This list may not reflect recent changes. B.
Judith Slaying Holofernes is a painting by the Italian early Baroque artist Artemisia Gentileschi, completed in 1612-13 and now at the Museo Capodimonte, Naples, Italy. [ 1 ] The picture is considered one of her iconic works.
The Vestal Virgin Tuccia (Italian: La Vestale Tuccia) or Veiled Woman (Italian: La Velata) is a marble sculpture created in 1743 by Antonio Corradini, a Venetian Rococo sculptor known for his illusory depictions of female allegorical figures covered with veils that reveal the fine details of the forms beneath.
Floria Sigismondi (born 1965), Italian-Canadian photographer; Luisa Silei (1825–1898), landscape painter; Roberta Silva (born 1971), Trinidad and Tobago-born contemporary artist; Nerina Simi (1890–1987), painter, art teacher; Elisabetta Sirani (1638–1665), Baroque painter; Violante Beatrice Siries (1709–1783), painter; Maria Spanò ...
The Italian monk, philologist and art collector Vincenzo Borghini suggested the title La Rappia delle Sabine (The Plunder of the Sabine Maidens). [8] According to the art historian Michael Cole, the title may fit in someway, but is essentially unsatisfactory or perhaps meaningless as it does not convey the artist's real intent.
Generally, "sculpture of any quality" was more expensive than an equivalent in painting, and when in bronze dramatically so. The painted Equestrian Monument of Niccolò da Tolentino of 1456 by Andrea del Castagno appears to have cost only 24 florins, while Donatello's equestrian bronze of Gattamelata, several years earlier, has been "estimated conservatively" at 1,650 florins.