Suitably well-produced, this acts as a fine introduction to Gentileschi's life and output – or should that be Artemisia's, for our author insists on using just her first name to differentiate her from her father, who also gets the less formal forename-only address. I'm not exactly a fan of dusty old religious paintings, however much nudity the situation (or purchasers) demanded, but even I can see the life in these women, the dynamism in their physicality, and the eye-catching status of the moments captured on canvas. It goes a long way beyond being a simple primer, for I don't think many casual browsers will want all the information about where she was living, or who was paying her way, or what royal eye she was trying to turn with a self-portrait. The centuries, too, have not been too kind to her life story, leaving large gaps in what we do know (how and when her husband disappeared, where her remains are, unheralded to this day, and so on). So some will find the forensic detail at times too much, and the basics and intrigue of her life sorely missing. But that art? The years have been very kind to it, for it looks as fresh as new, and her prodigious craft ever-evident. I was aware in rating this book so highly a lot of that was down to Artemisia herself, but this volume does deserve a lot of appreciation as well as its subject. Four and a half stars.

Ever since I read Susan Vreeland's biographical novel about Artemisia in 2002 I have been fascinated with her life. This is a beautiful and scholarly book detailing the life of Artemisia and her work. She started painting by the age of 15 and I'm amazed so much is known about her life and works. She spends time in Florence painting for the Medici court and then continues on to Rome and to the English court. The book covers her rape and trial but doesn't sensationalize it Her marriage, moves, children, affairs, patrons etc are all part of the story as is the politics of the time. (I've been to Florence and realize there is much I don't know of the Medici history and power). I thought she was the first woman to be admitted to the Academia of Arts but this book claims that is not true. I was surprised to learn it is known for sure when she died or where she was buried. This book is as much art appreciation with focus on elements and interpretations of what the artist creates. I confess I find that harder to read because it is subjective.

This book is put out by Getty and includes her art and some others works for comparison. It is a second in a series about Women Artists. I think it would be great for anyone interested art of the 17th century or in Artemisia herself. As I mentioned it is scholarly and would not be easily read by younger readers. I'd recommend high school and up. My daughter would have loved this when she took AP Art History. Because so much of her work is in private collections I feel lucky to have seen at least 15 in my travels in Europe and the USA. Thank you to NetGalley and Getty Publications for a temporary eARC in exchange for an honest review.

One of the best books I have happened across about Artemisia Gentileschi. She seemed so real and "here", I expected to see her sitting on my bench in my yard. A great book for anyone who loves Art.

An engaging read, beautifully illustrated, detailing the fascinating life of the artist

Artemisia Gentileschi her life would be a fascinating subject to a historical fiction (imagine Hilary Mantel taking on this life of a female artist moving through the papal court, the Medici at their height and the English royal court, with a missing husband and successful court case against her rapist).
Sheila Barker takes on the subject in a scholarly manner, going from the youth of the artist through to her successes, that eclipsed the fame of her painter father.
The interpretations of her pictures as very much engaging with political and theological machinations is sometimes both imaginative as stretching the credible, certainly taking into account that Artemisia was not a formally educated person. Still this makes the reader see the many Maria's and the many female nudes in a different light. Along the way we get to see beautiful combinations of purple and yellow and theories of the photo-feminism of the artist.
An engaging read, full of enticing works, good as an introduction to the work of the artist and baroque art in general.

I have seen some of this artist’s paintings and was fascinated by them. Here was a woman painter at a time when the art world was dominated by men. Plus, I later learned about her complicated personal history. For these reasons, I was delighted to have the chance to see this book and to learn more about AG.

This title is published by Getty and they clearly know how to produce gorgeous books on art. This book is part of a series on female artists and is motivated, in part, by current social movements and the desire to give space to past pioneers. Each book, according to the introduction, looks at a female artist in terms of social, cultural, temporal and geographic contexts. Attention is also paid to the artist’s life story and the growth and evolution of their art.

The reproductions in these pages are plentiful and provide a good sense of the artist. I loved many of the Madonna and Child portraits which, to me, exhibited a contemporary (to her time) feeling and a sense of the warm relationship between the two.

Art lovers and those who want to enhance their knowledge base will enjoy this title. I definitely recommend it.

Many thanks to NetGalley and the publisher. All opinions are my own.

Disclaimer: I received an ARC via Netgalley
Barker’s short book about Gentileschi is part biography, part art appreciation. Barker focuses more on Gentileschi’s art and how it was influenced by or touched on the politics of the day, be it working for the advantage of Catholics in England or endorsing female power in her native Italy.
Artemisia Gentileschi’s most famous painting might be either her painting of Judith Slaying Holofernes or Susanna and the Elders Many people know her simply as the woman Italian painter who got raped and then did pictures dealing with women killing men or about rape itself.
This does her a disservice.
Barker’s book corrects this. The rape and its, possible, connection to some of her work is addressed but is not the center of the book. Gentileschi’s work itself is the center as well as how the work relates to the larger political world that Gentileschi inhabited during her lifetime (1593-1656). It is a quick and interesting read. Despite its short length it is full of information not only about the painter and her personal biography, but also of the time and how women artists operated or succeeded during the time. Additionally, Artemisia is placed alongside the other members of her family who produced art, not just her father who she is usually mentioned alongside, but her brother as well. There is even some information about her mother.
Some reader might want a bit more biographical detail, in particular in regards to Gentileschi’s relationship with other women, but considering how scant some of the details of her life are, perhaps this into possible. Barker does include a list of sources for further reading at the end.
This book is ideal for anyone who is just starting to learn about art or Gentileschi.