東華大學圖書館 |

語系: 繁體中文

說明(常見問題)

回圖書館首頁

手機版館藏查詢

登入

回首頁

切換: 標籤 | MARC模式 | ISBD

"The Hands of Aurora": Artemisia Ge...

The Johns Hopkins University.

FindBook

Google Book

Amazon

博客來

"The Hands of Aurora": Artemisia Gentileschi and her contemporaries.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	"The Hands of Aurora": Artemisia Gentileschi and her contemporaries./
作者:	Locker, Jesse.
面頁冊數:	397 p.
附註:	Source: Dissertation Abstracts International, Volume: 68-11, Section: A, page: 4517.
Contained By:	Dissertation Abstracts International68-11A.
標題:	Art History. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3288494
ISBN:	9780549313274

"The Hands of Aurora": Artemisia Gentileschi and her contemporaries.
Locker, Jesse.

"The Hands of Aurora": Artemisia Gentileschi and her contemporaries. - 397 p.

Source: Dissertation Abstracts International, Volume: 68-11, Section: A, page: 4517.

Thesis (Ph.D.)--The Johns Hopkins University, 2008.

This dissertation reconsiders the career and critical fortunes of the baroque painter Artemisia Gentileschi. Although Gentileschi has received a great deal of scholarly attention in the past 20 years, most scholarship to date has focused on the earliest phase of the artist's career, particularly on questions of connoisseurship and iconography. Moreover, previous work has tended to assume that Artemisia was illiterate and consequently isolated from the intellectual and artistic currents surrounding her and, furthermore, that she was quickly forgotten by virtually everyone even before her death.

ISBN: 9780549313274Subjects--Topical Terms:

635474
Art History.

"The Hands of Aurora": Artemisia Gentileschi and her contemporaries.
LDR:03991nmm 2200289 a 45 001 873845
005 20100823
008 100823s2008 eng d
020 $a 9780549313274
035 $a (UMI)AAI3288494
035 $a AAI3288494
040 $a UMI $c UMI
100 1 $a Locker, Jesse. $3 1043077
245 1 0 $a "The Hands of Aurora": Artemisia Gentileschi and her contemporaries.
300 $a 397 p.
500 $a Source: Dissertation Abstracts International, Volume: 68-11, Section: A, page: 4517.
502 $a Thesis (Ph.D.)--The Johns Hopkins University, 2008.
520 $a This dissertation reconsiders the career and critical fortunes of the baroque painter Artemisia Gentileschi. Although Gentileschi has received a great deal of scholarly attention in the past 20 years, most scholarship to date has focused on the earliest phase of the artist's career, particularly on questions of connoisseurship and iconography. Moreover, previous work has tended to assume that Artemisia was illiterate and consequently isolated from the intellectual and artistic currents surrounding her and, furthermore, that she was quickly forgotten by virtually everyone even before her death.
520 $a Taking a number of previously unknown or underutilized contemporary and posthumous writings about Artemisia as a point of departure---written by prominent members of literary academies in Naples, Florence, and Venice---this dissertation proposes a different view of the artist's career. Namely, I argue that Gentileschi was well known, widely admired, and in active dialogue with a distinguished circle of poets, artists, and other men and women of letters across Europe. Such writings provide, on one hand, a more precise reconstruction of the artist's social and patronage network and, on the other, fresh insight into the criteria according to which contemporaries judged Artemisia and her work. Additionally, her own paintings seem to mirror the literary subjects and poetic themes found in the writings of these same authors, suggesting that Artemisia responded to, and even anticipated, the tastes and intellectual proclivities of her patrons. Taken cumulatively, the evidence presented here warrants a substantial reevaluation of the career, contemporary impact, and social status of the artist, as well as calling for a new interpretive mode for her pictures.
520 $a Chapter one examines Artemisia's numerous commissions for Spanish patrons, beginning in Rome in the 1620s, arguing that she deliberately cultivated a "devout" and "feminine" manner based on the perceived Spanish preference for such characteristics. Chapter two turns to Artemisia's little-studied Venetian period (c. 1626-c. 1630), demonstrating that the artist was closely connected to a small circle of prominent writers and artists in Venice and that these writers appear to have had a discernable impact on the subject-matter and disposition of her own art. Chapter three considers the artist's Neapolitan period, introducing and analyzing nearly a dozen previously overlooked poems devoted to Artemisia by contemporary Neapolitan poets. These poems provide insight not only into the artist's fame and social circumstances in the 1630s and '40s, but also the specific criteria by which her contemporaries judged her works. Chapter four examines the question of how poetry and poetic themes are reflected in Artemisia's own work, specifically her self-portraiture. Finally, chapter five reconsiders the question of Artemisia's posthumous fame by examining a number of understudied or unknown biographical and literary texts, some of them previously unknown, all of which suggest that Artemisia's fame reached its (pre-twentieth-century) peak in eighteenth-century Tuscany.
590 $a School code: 0098.
650 4 $a Art History. $3 635474
650 4 $a Gender Studies. $3 898693
650 4 $a History, European. $3 1018076
690 $a 0335
690 $a 0377
690 $a 0733
710 2 0 $a The Johns Hopkins University. $3 1017431
773 0 $t Dissertation Abstracts International $g 68-11A.
790 $a 0098
791 $a Ph.D.
792 $a 2008
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3288494