![]() ![]() ![]() Although the author acknowledges her exceptionality - a woman artist achieving professional success on a par with her male colleagues - his major objective is to situate her, together with her male and female peers, in the period’s patronage networks and wider cultural milieu. ![]() Two thematic chapters address her self-portraiture and her treatment by eighteenth-century biographers, respectively. While many scholars concentrate on Artemisia’s early career in Rome and Florence, Locker focuses instead on the time she spent in Venice (1626–29/30), Naples (1629/30–her death c. From the start, he clearly expresses his indebtedness to these and other scholars and delineates how his arguments draw from their work. Ward Bissell, Keith Christiansen, Elizabeth Cropper, Mary Garrard, Roberto Longhi, Judith Mann, Gianni Papi, Francesco Solinas, and others, Jesse Locker reveals six little-explored aspects of the career of early modern Europe’s most famous woman artist. Adding substantially to the corpus of art-historical research on Artemisia Gentileschi by R. ![]()
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