Locker sets aside the well-documented and rehearsed personal events of Artemisia’s early life-her rape by Agostino Tassi and subsequent trial-because no direct mention of them appears in the sources under examination. A postscript considers the literary evidence against the economic data on Artemisia’s career, emphasizing the consistently high status of her patrons and admirers, and arguing that her financial difficulties in Naples should be read as indicative of the city’s-rather than the artist’s-challenging position in the midst of war and political turmoil. With the aim of such alterations in mind, the book is structured around caches of poems from Venetian and Neapolitan authors and an eighteenth-century Tuscan biography of the artist. At the outset, Locker quotes Riccardo Lattuada’s observation that “a single document or an individual painting can alter substantially our understanding of work and her career” (2).
Ward Bissell, Keith Christiansen, Roberto Contini, Mary Garrard, Alexandra Lapierre, and Judith W. Locker’s study thoughtfully builds on, and at times challenges, the work of scholars and authors who have made Artemisia an (almost) household name, including R. Locker’s Artemisia Gentileschi: The Language of Painting examines the Baroque artist’s career as an independent professional, beginning in the 1620s, within the context of the courtly and literary cultures of Venice, Naples, and Florence. Performance Art/Performance Studies/Public Practice.Museum Practice/Museum Studies/Curatorial Studies/Arts Administration.Drawings/Prints/Work on Paper/Artistc Practice.Digital Media/New Media/Web-Based Media.Architectural History/Urbanism/Historic Preservation.Subject, Genre, Media, Artistic Practice.
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