Podcasts about gentileschi

durée : 01:59:35 - Les Matins du samedi - par : Nicolas Herbeaux - Cette semaine, dans les matins du samedi, on s'intéresse à la masculinité chez les adolescents, à la vie aux côtés des oiseaux et à l'exposition consacrée à Artemisia Gentileschi au Musée Jacquemart André. - réalisation : Jean-Christophe Francis - invités : Philippe J. Dubois Ornithologue, ingénieur écologue, directeur des Editions "Delachaux et Niestlé".; Sigolène Vinson Écrivain; Pierre Curie Conservateur et historien de l'art français; Stéphanie Lamy Spécialiste des guerres de l'information et militante féministe. Autrice de "La terreur masculiniste" aux éditions du Détour.

durée : 01:59:35 - Les Matins du samedi - par : Nicolas Herbeaux - Cette semaine, dans les matins du samedi, on s'intéresse à la masculinité chez les adolescents, à la vie aux côtés des oiseaux et à l'exposition consacrée à Artemisia Gentileschi au Musée Jacquemart André. - réalisation : Jean-Christophe Francis - invités : Philippe J. Dubois Ornithologue, ingénieur écologue, directeur des Editions "Delachaux et Niestlé".; Sigolène Vinson Écrivain; Pierre Curie Conservateur et historien de l'art français; Stéphanie Lamy Spécialiste des guerres de l'information et militante féministe. Autrice de "La terreur masculiniste" aux éditions du Détour.

Les artistes comme Dürer et Gentileschi connaissaient les coûts de production de leurs œuvres, mais ce savoir-faire s'est perdu au 19e siècle au profit des marchands. Le procès entre Whistler et Ruskin dans les années 1870 a marqué l'émergence de la "cote" de l'artiste, fixant les prix de manière transparente. Des exemples concrets incluent un peintre espagnol fixant ses prix selon le nombre de mains sur ses portraits et l'analyse des formats impressionnistes, au cœur du "malentendu commercial" identifié par Mallarmé.Notre équipe a utilisé un outil d'Intelligence artificielle via les technologies d'Audiomeans© pour accompagner la création de ce contenu écrit.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Nous sommes le 30 janvier 1649, à Naples. Dans une lettre qu'elle adresse à Antonio Ruffo, l'un de ses commanditaires, lui annonçant le prochain envoi d'un tableaux, Artemisia Gentileschi écrit : «… Le nom d'une femme soulève des doutes jusqu'à ce que son travail soit vu…» Huit mois plus tard, le 7 août, Artemisia, âgée de cinquante-six ans, ajoute : « Mon illustre seigneurie, je vais vous montrer ce qu'une femme peut faire ». Le 13 novembre de la même année, l'artiste insiste : "Avec moi, Votre Seigneurie ne perdra pas et vous trouverez l'esprit de César dans l'âme d'une femme". Avant de conclure : "Je ne vous dérangerai plus avec ce bavardage féminin, car les œuvres parleront d'elles-mêmes". Née à Rome, fille de peintre, Artemisia commence sa formation artistique dans l'atelier de son père. Alors qu'elle n'a pas dix-huit ans, un événement violent change le cours de sa vie : elle est violée par un collaborateur de l'atelier familial. Un viol qui va entacher durablement sa réputation et orienter toute sa ultérieure. Le procès de son violeur, qui sera aussi le sien, va marquer les esprits de ses contemporains et la postérité. En 1916, commentant l'une des peintures parmi les plus célèbres de l'artiste « Judith décapitant Holopherne », le critique d'art Roberto Longhi note : « Qui pourrait penser que sous un drap étudié de candeurs et d'ombres glacées dignes d'un Vermeer grandeur nature, pouvait se dérouler une boucherie aussi brutale et atroce (…) ? Longhi ajoute : « (…) ce qui surprend, c'est l'impassibilité féroce de qui a peint tout cela et a même réussi à vérifier que le sang giclant avec violence peut orner le jet central d'un vol de gouttes sur les deux bords ! » . Artemisia Gentileschi : de l'infamie peur naître la force … Avec les Lumières d'Anne Hustache, historienne de l'art. Sujets traités : Artémisia Gentileschi, Antonio Ruffo, artiste, réputation, viol, infamie , Rome, peintre, tableau Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be :https://auvio.rtbf.be/emission/5936 Intéressés par l'histoire ? Vous pourriez également aimer nos autres podcasts : L'Histoire Continue: https://audmns.com/kSbpELwL'heure H : https://audmns.com/YagLLiKEt sa version à écouter en famille : La Mini Heure H https://audmns.com/YagLLiKAinsi que nos séries historiques :Chili, le Pays de mes Histoires : https://audmns.com/XHbnevhD-Day : https://audmns.com/JWRdPYIJoséphine Baker : https://audmns.com/wCfhoEwLa folle histoire de l'aviation : https://audmns.com/xAWjyWCLes Jeux Olympiques, l'étonnant miroir de notre Histoire : https://audmns.com/ZEIihzZMarguerite, la Voix d'une Résistante : https://audmns.com/zFDehnENapoléon, le crépuscule de l'Aigle : https://audmns.com/DcdnIUnUn Jour dans le Sport : https://audmns.com/xXlkHMHSous le sable des Pyramides : https://audmns.com/rXfVppvN'oubliez pas de vous y abonner pour ne rien manquer.Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

durée : 00:16:26 - Les Midis de Culture - par : Marie Labory, Marie Sorbier - Les critiques discutent de l'exposition "Artemisia, héroïne de l'art" que le musée Jacquemart-André à Paris consacre à Artemisia Gentileschi, peintre romaine du XVIIᵉ siècle qui a marqué l'histoire de l'art de son époque. - réalisation : Laurence Malonda - invités : Stéphane Corréard Editorialiste au Journal des Arts; Corinne Rondeau Maître de conférences en esthétique et sciences de l'art à l'Université de Nîmes et critique d'art

1/ Expositions Wesselmann et Ribera : êtes-vous plutôt pop-art ou art baroque ? 2/ Grotte Chauvet, Chine des Tang, art du trompe-l'œil... : les coups de cœur des chroniqueurs 3/ Boudin, Gentileschi, "art dégénéré"... : les expos 2025 à ne pas manquer. Retrouvez un nouveau numéro du Club Le Figaro Culture. Jean-Christophe Buisson reçoit Nicolas Chaudun, Léopoldine Frèrejacques, Eric Biétry-Rivierre et Bénédicte Bonnet Saint-Georges.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

It is time once again for our Round Up episode for the month of September, where we talk about some of the most interesting and timely art news stories of the last month with our writers here at Artnet. This month, Art Angle co-hosts Ben Davis and Kate Brown are joined by senior writer Sarah Cascone, and the three stories they discuss all center around museums. The first is the announcement that longtime director of New York's Museum of Modern Art Glenn Lowry will retire after 30 years, which marks the end of an era, and perhaps the beginning of something new. Artnet's Katya Kazakina wrote an article speculating on who might replace Lowry, and the panel discusses what this means for the future of one of the world's most famous museums. There's been a lot of leadership around New York museums, with the news of Alex Rüger taking over the role of director at the Frick Collection from Ian Wardropper, who is stepping down in 2025; plus the departure of Klaudio Rodriguez from the Bronx Museum, which has seen three directors in just seven years. Next up, the trio takes a deep dive into an article penned by Ben Davis that shares the result of an analysis he did looking at the shows on view at over 200 museums across the United States to see which artists are cropping up most frequently. The results were surprising, and give us all a window into the cultural zeitgeist. Finally, we talk about the news of a rediscovered painting by beloved Baroque artist Artemisia Gentileschi that is going on view in Texas, based on a story written by Sarah Cascone.

Noémie Marijon nous présente la figure de Judith à travers ses représentations dans la peinture, notamment dans les œuvres de Giorgione (1504) et d'Artemisia Gentileschi (1620). Un regard pertinent, féminin et féministe.   NOTES - Le podcast de Noémie Marijon et Valérie-Anne Maître: https://podmust.com/podcast/so... - Le sujet de thèse de Noémie : https://passionmedievistes.fr/... | https://podcast.ausha.co/part-... - Les œuvres citées par Noémie : https://fr.wikipedia.org/wiki/... | https://utpictura18.univ-amu.f... - Bibliographie : GAILLARD Ludivine, Imparfaites : Représenter “la femme” dans l'art occidental : entre fantasmes et domination masculine, First, 2022 ; Nathalie FERLUT, BAUDOIN Tamia, Artemisia, Delcourt, 2017 ; Catherine LEPRONT, Marc de LAUNAY, Laura WEIGERT, Judith et Holopherne, Desclée de Brouwer, 2003. - https://commons.wikimedia.org/... - https://www.aularge.eu/blog/le... | https://www.aularge.eu/blog/le... - https://linktr.ee/aulargebibli... | https://linktr.ee/aulargebibli...| https://www.aularge.eu/blog/we... | https://www.aularge.eu/blog/we... | https://www.spreaker.com/show/.../feed  - Épisode enregistré par Noémie Marijon (09/2024). Image de couverture : Giorgione, Judith, v.1504 - source : https://commons.wikimedia.org/.... Génériques : Erwan Marchand (D.R.). «https://www.aularge.eu/blog/le.../» est un podcast conçu et animé par François Bessonnet, bibliste. Sous Licence Creative Commons (cc https://creativecommons.org/li... - Musique de fin : Courez, Courez Judith d'https://fr.wikipedia.org/wiki/... : « Judith et Sémélé », par Maïlys de Villoutreys (soprano), Alice Piérot (Violon), Eléanor Lewis-Cloué (Viole de Gambe), Marie Van Rhijn (Clavecin) Gauthier Broutin (Violoncelle), Marc Wolff (Théorbe), Héloise Gaillard (dir. Artistique) de l'Ensemble Amarillis, enregistré par Little Tribeca en novembre 2021 à La Courroie avec le label Evidence Classics en boutique et sur vos plateformes : https://lnk.to/Judith_et_Semel... /> - Vidéo : https://youtu.be/lFruvpb9iMA?s... Soutenez le podcast avec https://fr.tipeee.com/au-large... ou https://ko-fi.com/aulargebibli... Vous avez lu ces notes jusqu'à la fin. Bravo ! https://www.aularge.eu/blog/ev....   CHAPITRES  00:00 Générique et présentation par F.B.  02:14 Noémie Marijon : Judith dans l'art 15:55 Générique de fin : Elisabeth Jacquet de la Guerre (1665-1729), « Courez, courez, Judith »

It is time once again for our Round Up episode for the month of September, where we talk about some of the most interesting and timely art news stories of the last month with our writers here at Artnet. This month, Art Angle co-hosts Ben Davis and Kate Brown are joined by senior writer Sarah Cascone, and the three stories they discuss all center around museums. The first is the announcement that longtime director of New York's Museum of Modern Art Glenn Lowry will retire after 30 years, which marks the end of an era, and perhaps the beginning of something new. Artnet's Katya Kazakina wrote an article speculating on who might replace Lowry, and the panel discusses what this means for the future of one of the world's most famous museums. There's been a lot of leadership around New York museums, with the news of Alex Rüger taking over the role of director at the Frick Collection from Ian Wardropper, who is stepping down in 2025; plus the departure of Klaudio Rodriguez from the Bronx Museum, which has seen three directors in just seven years. Next up, the trio takes a deep dive into an article penned by Ben Davis that shares the result of an analysis he did looking at the shows on view at over 200 museums across the United States to see which artists are cropping up most frequently. The results were surprising, and give us all a window into the cultural zeitgeist. Finally, we talk about the news of a rediscovered painting by beloved Baroque artist Artemisia Gentileschi that is going on view in Texas, based on a story written by Sarah Cascone.

Om konstnären som under 1600-talet erövrade Europa med sitt måleri. Hon genomlevde både övergrepp och smutskastning. Men hennes driv gick inte att kväsa och hon målade sig rakt in i konsthistorien. Nya avsnitt från P3 Historia hittar du först i Sveriges Radio Play. Redaktionen för detta avsnitt består av:Elina Perdahl - programledare och manusEmilia Mellberg - producent, research och manusZardasht Rad - scenuppläsareViktor Bergdahl - ljuddesign och slutmixMedverkar gör också Alexandra Fried, lektor i konst- och bildvetenskap vid Göteborgs universitet och medskapare till Konsthistoriepodden.Vill du veta mer om Artemisia Gentileschi? Här är några av de böcker som ligger till grund för avsnittet:Artemisia Gentileschi av Jonathan JonesArtemisia Gentileschi the language of painting av Jesse M LockerArtemisia Gentileschi av Sheila Barker

Director Reinaldo Marcus Green talks to Tom Sutcliffe about One Love, his biopic about the legendary reggae singer-songwriter Bob Marley and his music.Bryce Dessner, the guitarist of the award-winning rock band The National, discusses his other life in classical music and writing a new concerto for pianist Alice Sara Ott, which is having its UK premiere at the Royal Festival Hall.This week the liturgical calendar marks the moment when Joseph was warned by an angel of King Herod's intent to harm Jesus, and told to flee with him and Mary to safety in Egypt. The painter Julian Bell and art historian Joanna Woodall consider how The Flight into Egypt has been the subject of great artists - Giotto, Gentileschi, Brueghel, Rembrandt - for centuries and shapes our perception of refugees to this day. Presenter: Tom Sutcliffe Producer: Olivia Skinner

A Palazzo Ducale a Genova c'è in questi giorni una mostra dedicata a Artemisia Gentileschi, dal titolo “Coraggio e passione” che dovrebbe celebrare l'arte della pittrice del ‘600 di scuola caravaggesca. Figlia del pittore pisano Orazio, Artemisia Gentileschi fu una grande artista in grado di rivelare il proprio talento e di riuscire a imporsi in una società tendenzialmente chiusa, in cui le donne non avevano molte possibilità di emergere. A diciott'anni subì uno stupro da Agostino Tassi, pittore amico del padre. Anche in quel tempo denunciare una violenza era un'onta infamante ma Tassi venne condannato e gli atti dei quel crudo processo sono arrivati fino a noi. Il curatore Costantino D'Orazio ha aggiunto nel percorso della mostra una stanza divenuta tristemente nota come “sala dello stupro” che - come denuncia una lettera aperta firmata da un gruppo di attiviste, esperte e organizzazioni - “non viene in alcun modo segnalata, presenta un'installazione che intende rappresentare il primo stupro che Gentileschi subì da parte di Agostino Tassi. Lo fa con un letto collocato al centro mentre i dipinti della pittrice proiettati sulle pareti si colorano di sangue. Non manca una voce femminile registrata di sottofondo che recita le dichiarazioni della pittrice al processo, un processo che fu estremamente intrusivo e umiliante per Artemisia, lasciandola con la reputazione distrutta”. Nel negozio di souvenir all'uscita si possono trovare il libro “La notte tu mi fai impazzire. Gesta erotiche di Agostino Tassi, pittore” di Pietrangelo Buttafuoco che romanticizza la violenza e vari gadget con la citazione di Tassi “Io del mio mal ministro fui” che con simpatia ripercorre l'evento. È normale? #LaSveglia per La NotiziaDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/la-sveglia-di-giulio-cavalli--3269492/support.

Este episodio es muy especial porque ¡es la primera vez que hacemos una grabación en vivo desde UW Lacrosse! En esta ocasión hablaremos de las expectativas que la sociedad ha impuesto de alguna u otra manera en los roles de género. Sara y Natalie ofrecen reflexiones sobre cómo estas expectativas han jugado en contra tanto para hombres como mujeres, así como personas que no se quieren ver definidas por las normas heteronormativas. Gracias al profesor Antonio Martín Gómez de la Universidad de Wisconsin en Lacrosse por haber facilitado este espacio y darnos la confianza. This episode is very special because it's the first time we're recording live from UW Lacrosse! On this occasion, we will talk about the expectations that society has imposed in one way or another on gender roles. Sara and Natalie offer reflections on how these expectations have worked against both men and women, as well as people who don't want to be defined by heteronormative norms. Thanks to Professor Antonio Martín Gómez from the University of Wisconsin in Lacrosse for providing us with this space and giving us support.Caravaggio and Gentileschi's ‘Judith' Compared by Claire Sandberghttps://renaissancereframed.com/2020/10/01/the-beauty-and-the-beast/  La Suprema Corte tumba el caso del fiscal Gertz contra su familia políticahttps://elpais.com/mexico/2022-03-28/la-suprema-corte-tumba-el-caso-del-fiscal-gertz-contra-su-familia-politica.html Instagram resourceshttps://www.instagram.com/lentes.purpura/ https://www.instagram.com/malvestida/ 

Artemisia Gentileschi was the most celebrated female painter of the 17th century, as famous in her lifetime as Reubens or Van Dyke. But the events of her life were as savage as the events depicted in her paintings.In this episode of Not Just the Tudors, Professor Suzannah Lipscomb talks to Elizabeth Freemantle, whose new novel Disobedient imagines Gentileschi's life and the pivotal events that may have fuelled the energy and fury of her paintings.This episode was edited by Joseph Knight and produced by Rob Weinberg.Discover the past on History Hit with ad-free original podcasts and documentaries released weekly presented by world renowned historians including Dan Snow, Suzannah Lipscomb, Lucy Worsley, Matt Lewis, Tristan Hughes and more. Get 50% off your first 3 months with code TUDORS. Download the app on your smart TV or in the app store or sign up here >You can take part in our listener survey here >For more Not Just The Tudors content, subscribe to our Tudor Tuesday newsletter here > Hosted on Acast. See acast.com/privacy for more information.

If you've not heard of 17th Century artist Artemesia Gentileschi, you're not alone. The good news is that Mickey's been on Zoom with author Elizabeth Fremantle to find out about Gentileschi's incredible life, what her beautiful but brutal paintings reveal about her story, and Elizabeth's new book Disobedient. Jen's chatting to journalist and author Paula Cocozza about her new book Speak To Me, and a lack of connection in an overly-connected world. In Jenny Off The Blocks, we'll be looking ahead to the Women's World Cup, which kicks off on Thursday. Hooray. In Rated or Dated, will there be blubb(er)ing as Hannah picks one of New Zealand's most famous films, Whale Rider? And in BT there's sexism, more sexism, ageism and a bit more sexism for good measure.Support this show http://supporter.acast.com/standardissuespodcast. Hosted on Acast. See acast.com/privacy for more information.

We were lucky enough for Lori from the Her Half of History podcast to come and talk about the 17th century female Roman artist Artemisia Gentileschi.She overcame great trauma and injustice at a young age to become one of the most important and successful painters of her time and the centuries that followed.

Artemisia Gentileschi (1593–1654) hat wirklich Geschichte geschrieben: Dank ihr wurden im italienischen Barock endlich auch die Gefühle der weiblichen Figuren der Mythologie und der biblischen Geschichte anschaulich. Plötzlich wurden Judith, Kleopatra, Lucretia und Maria Magdalena nicht wie all die Jahrhunderte zuvor aus männlicher Sicht dargestellt, sondern mit ganz neuartigen Merkmalen und sichtbaren Ausdrücken von Verletzlichkeit, Wut, Schmerz und Scham gezeigt. Schon als junges Mädchen, im Atelier ihres Vaters Orazio, verblüffte Artemisia die Kunstwelt durch ihre Fertigkeiten. Doch als sie als 17-Jährige von ihrem Kunstlehrer Agostino Tassi vergewaltigt wurde, drohte ihre Karriere als vermeintlich entehrte Frau im katholischen Italien der Gegenreformation schon beendet zu sein, bevor sie begonnen hatte. Doch es kam anders. In “Augen zu”, dem Kunstpodcast von ZEIT und ZEIT Online, erzählen Florian Illies und Giovanni di Lorenzo von der einzigartigen künstlerischen Laufbahn dieser Ausnahmefigur, bei deren Bildern es immer ums Ganze geht: um Liebe, um Hass, um entfesselte Lust und um entfesselte Gewalt. Gentileschi besaß nicht nur handwerklich ein großes Talent, sie war vor allem dazu in der Lage, die klassischen biblischen und mythologischen Themen auf eine neuartige Weise zu erzählen – und zwar in der Mimik und Gestik. Bei ihr entwickeln sich die Szenarien und Kompositionen aus dem Innern der Figuren – und nicht aus dem Drehbuch der Handlung. Nachdem Gentileschi für fast drei Jahrhunderte vergessen wurde, ist sie nun mit aller Macht in den Kanon der Kunstgeschichte zurückgekehrt. Wer ihre Kunst sehen will, kann dies in Deutschland im Schloss Pommersfelden tun, wo ihr erstes dokumentiertes Bild hängt, die "Susanna im Bade" aus dem Jahre 1610. Bis zum 23. März ist zudem in der Gallerie d'Italia in Neapel eine bahnbrechende Ausstellung über Artemisia Gentileschis Wirken in Neapel zu sehen. Lob, Kritik, Anmerkungen? Schreiben Sie uns gern an augenzu@zeit.de.

Dès son plus jeune âge, Artemisia Gentileschi peint sans relâche dans l'atelier de son père qui a vite remarqué le talent de sa fille… Perles de Culture est un podcast Cultura produit par Création Collective Textes de Julien Bordier racontés par David Abiker Curation : Frédéric Bénaïm - Rédaction en chef : Eric Le Ray - Réalisation : Léo Gagnon Générique : Alto Music - Naming et Création Graphique : Saint John's Enregistrements à l'Arrière-Boutique Studio Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Entrevistamos a Dra. CRISTINE TEDESCO, que deu voz à Artemísia Gentileschi, publicando a única biografia em português da artista. No episódio falamos ainda das formas de silenciamento das mulheres na arte. Envie seus comentários para: podcastdesver@gmail.com

This week I sit down with photographer Rachel Vogeleisen to discuss 4 works from the brilliant Artemisia Gentileschi!!! Artemisia Gentileschi was an Italian Baroque painter and is considered among the most accomplished seventeenth-century artists. In an era when women had few opportunities to pursue artistic training or work as professional artists, Gentileschi was the first woman to become a member of the Accademia di Arte del Disegno in Florence and she had an international clientele. Many of Gentileschi's paintings feature women from myths, allegories, and the Bible, including victims, suicides, and warriors. Gentileschi was known for being able to depict the female figure with great naturalism and for her skill in handling colour to express dimension and drama. Her achievements as an artist were long overshadowed by the story of Agostino Tassi raping her when she was a young woman and her participation in the trial of her rapist. Rachel and I discuss how this event shaped the art that she made, why she is a feminist icon and why her subjects are still (sadly) so relevant to today's world. A great episode and I hope you enjoy it! Jo Host: Jo McLaughlin @josarthistory Guest: Rachel Vogeleisen Website: https://rachelvogeleisenprints.com Instagram @rachelvogeleisen SOME LINKS: Great overview and videos of Artemisia: https://www.khanacademy.org/humanities/renaissance-reformation/baroque-art1/baroque-italy/a/gentileschi-conversion-of-the-magdalene And here: https://www.designartmagazine.com/2020/12/artemisia-gentileschi.html National Gallery Artemisia in 8 paintings: https://www.youtube.com/watch?v=cNsg6RnlJtI&t=618s National Gallery Series on restoring Self-portrait: https://www.youtube.com/watch?v=CXX8s2aH5co&t=0s FKA Twigs on Artemisia Gentileschi for Google Arts and Culture: https://artsandculture.google.com/project/artemisia-gentileschi Judith slaying Holofernes https://www.uffizi.it/en/artworks/judith-beheading-holofernes https://en.wikipedia.org/wiki/Corisca_and_the_Satyr https://en.wikipedia.org/wiki/Judith_Slaying_Holofernes_(Artemisia_Gentileschi,_Naples) Judith and maidservant https://en.wikipedia.org/wiki/Judith_and_Her_Maidservant_(Detroit) Corsica and the satyr https://www.artemisiagentileschi.org/corisca-and-the-satyr/ Susanna and the elders.

La Madonna sotto il "Cristo dei Dolori" in vendita il 27 gennaio

Episode No. 527 features artist Jim Isermann and curator Oliver Tostmann. Radius Books has just published the monograph "Jim Isermann." For forty years the California-based Isermann has joined sculpture and painting to design, examinations of domesticity and queerness. Last year the Palm Springs Art Museum presented a survey of Isermann's career. Isermann has fulfilled commissions for sites as unalike as football stadiums at the University of Houston and in Arlington, Texas, and for Stanford and Princeton Universities. His work is in many major art museum collections, including at the Museum of Modern Art and the Hammer Museum. "Isermann" was designed by David Chickey and Mat Patalano. It features an essay by Christopher Knight and a conversation between Isermann and John Burtle. The book is available from Radius, Indiebound and Amazon for $60-65. With Eve Straussman-Pflanzer, Tostmann is the co-curator of "By Her Hand: Artemisia Gentileschi and Women Artists in Italy, 1500-1800" at the Wadsworth Atheneum in Hartford. The exhibition explores how women artists succeeded even though many paths to professional development and patronage were closed to them. Among the artists whose work is included in the project are Gentileschi, Sofonisba Anguissola, Rosalba Carriera, Lavinia Fontana, and Virginia da Vezzo. "By Her Hand" is on view at the Wadsworth through January 9, when it will travel to the Detroit Institute of Arts. The exhibition catalogue was published by the DIA and is distributed by Yale University Press. Indiebound and Amazon offer it for about $40.

La vida de una artista del barroco célebre por sus obras consideradas feministas

Wren takes a road trip. A divorcee spots an odd insect. Conway tries to shake a rock out of his shoe. Featuring the voices of Nathan from Storage Papers (https://thestoragepapers.com), Jess Syratt from Nowhere, On Air (https://nowhereonairpodcast.weebly.com), and Rae Lundberg of The Night Post (https://nightpostpod.com/). (CWs, mild spoilers: LOTS of insects, body horror, fire, car braking sound) Transcript incoming, here's the rough script for now, which mostly follows the episode. “Now let's get to the weird stuff…” WREN: We humans generally like stability. Predictability. We like to figure out patterns and stick with them. I think that's why change can be so frightening for us. It throws the future--which once seemed so certain--into chaos. Anything could happen. We could be on the verge of destruction at any moment. But we could also be inches away from utopia. If you can learn to live with this change, this constantly revolting present, you just might make it out of the apocalypse with your sanity intact. Or so that's what I hoped. I had little else to count on. I tried to flow like water with the shifting tide. You can be the judge of how that all turned out. That's why you're here, right? Pockets of shadows remained in the cave, about a dozen or so people, seemingly oblivious to the life outside. They toiled under The Boss's directives, worked day and night for the Dead Letter Office. To what end, I couldn't really say. Seemingly just to perpetuate the office itself. If I could show them the way out, maybe they would help me take on the Boss. One shadow, Liz, was receptive to my offer. She still had some kick left in her diminished form. Her girlfriend, though, was blind to the world, just a single atom in the bureaucratic monolith. In Liz, I had someone on the inside. If she could go back and agitate from within the machine, we might stand a chance of turning a few more souls back to the light. It would be risky, though; if even one shade suspected outside forces were at work, they might alert the Boss. Even given all my experience with the paranormal and extranormal, I have no idea what would happen then. My gut feeling told me that facing the Boss prematurely would be...ill-advised. If I wanted to find more of these shadows, I'd need to search through the dead mail, find the stories that might have caught Conway's attention, and seek out their writers. The problem was that I had just walked out of my job, and I had a suspicion that if I showed back up unannounced, the Boss would take notice. Where, then, would I find these letters if not the office? I'd need to find the place that Conway kept all of the clues. I'd need to find Aisling. I'd need to find the vault. Would anything be left in the old vault, or had the Boss already figured out my plan and purged it? Only one way to find out. Yes, change can be terrifying. Yes, the future is in flux. But the scariest part is that the past can be made just as uncertain as the future. Memories fade, records burn, and witnesses pass on. Entire decades lost, cultures lost. Lessons unlearned. Mistakes repeated. If a place loses its history, how can its people know the present? Without a past, how can we make sense of the future? As a butterfly forgetting it was once a worm, who are we without who we were? Driving through the clogged artery highways of the state was a challenge, given that time appeared to be at a standstill for most of the world. If all the postcards and letters were to be believed, I was looking for a lakeside town. Somewhere along the Erie was a town full of shadows, a place haunted by its own history. And within that town was a lighthouse. This lighthouse was my metaphorical beacon. I kept the postcard printed with its image folded and tucked into my pocket. It was among the few items I took with me on this road trip: a cassette player with some of Conway's old tapes and a furry little friend also jostled around in a cardboard box on the passenger seat. I couldn't just leave the poor thing in the office after all we'd seen. The morning air was silent and stiff, only the sound of my rumbling engine accompanied the pink rays glancing off rows of glass and steel. I turned the stereo's knob, but the radio was entirely dead air. I loaded up one of the tapes to see if it would be of any help. The enormous hand still hung overhead like the executioner's ax. What was our crime, Conway? What did we let ourselves forget? *on tape* OLD INTRO MUSIC This is Conway, receiving clerk for the Dead Letter Office of Aisling, Ohio, processing the national dead mail backlog. The following audio recording will serve as an internal memo strictly for archival purposes and should be considered confidential. Need I remind anyone: public release of this or any confidential material from the DLO is a felony. Some names and places have been censored for the protection of the public. Dead letter 11919. An SD card found in a condemned building. The house caught fire in fall of 2011, but card was mysteriously undamaged. The fire department contacted one of our carriers, who brought it back to the office for investigation. The contents of the SD card are as follows. *off tape A month after my divorce I took up photography. Call it a midlife crisis if you want. I needed something to keep my mind occupied now that I was perpetually alone again, and a camera is a hell of a lot cheaper than a sports car. Photography's really for lonely hearts; you're by yourself, but surrounded by people. You watch them through the lens, feed on their fleeting touches. I threw myself into it fully without thinking too much, like I do with just about everything. Like I did with her. Three months after the divorce, I went to the butterfly house. To see things so wet and new enter the world, so hopeful, was healthier projecting my turmoil onto the world around me. The insects' colorful wings rendered through the lens like stained glass, and there was so much variety. I started shooting at the conservatory whenever I could, and gleaned a lot about butterflies in the process. Monarch butterflies, Danaus plexippus, migrate long distances, from the great lakes to the gulf, then come back again when the weather warms up. How they remember the path back home, no one's quite sure. Almost romantic. On the other end of the spectrum, some moths only live for a week. Actias luna don't eat anything during their brief week of existence, because they can't: their mouths are vestigial. Instead, they rely on what they ate in their larval state to sustain them throughout their lives. They eat, change, mate, and die. Also kind of romantic. In a sense. Six months after the divorce is when I saw it. The reason for this video. I was kneeling in front of a coneflower, Echinacea purpurea, waiting for one of the little powdery things to alight on a petal. A kid running through the conservatory was scaring off most of my subjects, but I could be patient. What else did I have going on in my life? My friends were mostly married and mostly busy, my family...well, I'd rather not go there. So I waited. Crouched, holding the hefty camera, lens focused, my mind was sharp but my body was getting stiff. I was about to call the day a wash when something interesting came into view. A large butterfly landed on the purple flower. Its folded wings were pure ashy black, and it looked sharper than the objects around it. This one had a sort of presence, a portentous aura, as if the events of the world waited on every flap of its wing. In my time here, I'd never seen anything like it. It held my attention in a vice, like it wasn't a bug at all, but a treacherous cinder in a pile of dry leaves. Like it demanded a watchful eye, else the ember might be stirred by a breeze to glow again and burn and burn. I snapped a few photos of its dusky form. Then it turned, its back now facing the camera, and spread its wings. There smudged across its span were three bars of color: white over red over brown on black. Like three chalky rectangles floating in the void. The thing that worried me most about this creature was that it was somehow familiar, like somewhere deep in the recesses of my mind I had seen this before. But not on a butterfly, no, it had to be something else. Six years ago, we drove up to canada in a cheap rental car. We threaded a trail up and east, across the Erie border, into the marigold hills of pennsylvania, through the vineyards and thin eastern pines of new york, up across the border. We were spending a long weekend in Toronto, taking in the sights and sounds of a real city, a place where public transportation isn't just a pipe dream. We bought fresh pears from a bodega in and took the metro across the river. We walked through the financial district and saw a seagull pick at fries in a discarded styrofoam container. I say we. I can see the places in my mind, remember the sounds and smells, but she's not really there in my memory anymore. My mind erased her from the picture, but the empty space she occupied is still there. Like a citation to a book that doesn't exist, an overexposed blob on a film negative haunting every frame. This was our last trip together, not that we knew that at the time. We were both worn out, a wordless static swelling between us. Radios tuned to different stations. We were growing apart, but neither of us wanted to admit it. That would be too brave. Easier to let it wither away until it's a dry husk of what it once was. We had exhausted just about every other method of holding this thing together, so in a mocking reflection of our first date, we went to the Art Gallery of Ontario. We casually wound through the hallways going through the motions, pointing out something interesting here, gently nodding there. In a dark room near the end, among the abstract expressionists, was that pattern I had seen before. A Rothko, white and red something, on display. It shook me more than I had anticipated that day. Something about the frankness of it. There was no obfuscation, no dalliance. It just was. I knew then that we had to split, come what may. The camera fell from my eye as my arm went limp. This couldn't possibly be the same pattern I'd seen six years ago. I must have been remembering the painting wrong. Or maybe some sicko had meticulously painted its wings. A cruel obsession. But the nausea welling inside me told me that I was flailing for a rational explanation for the irrational. That to know the thing was to unknow all else. That I was throwing darts at the tide. Putting a leash on an acorn. Crying over spooled milk. I pulled myself from my stupor and shot a few pictures of its outstretched wings before it flew off. I showed the photos to the head of the butterfly house, almost just to reassure myself that I hadn't imagined it. He had no idea where it had come from or what it was, but he did see the pattern, too. He guessed it was a rare genetic mutation occurring in a more common variety of butterfly. He went with me to look for it, but we didn't find a trace of it in the conservatory. Once I got home, I searched for the painting. There it was, Mark Rothko's No.1, White and Red from 1962. It was identical to the pattern on the butterfly's wings.There had to be some kind of connection between the bug and the painting, but even after hours of research, I just wasn't seeing it. Eventually, like anything else, the novelty of that day wore off and I went back to my usual routines as if it had never happened. One afternoon weeks later I stepped out of the humid greenhouse into the glaring september sun. The courtyard was hot and white. Sweat was dripping down my forehead, rolling into my eyes and stinging my vision. I squinted against the salt and light, and in my periphery saw a bird eating its dinner under an oak tree. A blackbird, large iridescent green-black, a white streak dripping down one wing. I rubbed my eyes to clear the sweat. The bird had something sticking out of its mouth: its poor prey hadn't been completely devoured yet. Poking out of the black beak was a butterfly. It didn't look like one from the conservatory, though. I took out my camera and zoomed in on the bird. The wing dangling from its mouth had a stunning pattern. Swirling blues and whites, tangerine globes and black spires. Before I could even register what I was seeing, the bird took off into the thick air. That sickening deja vu hit me again, but this time I didn't need to look it up to know what it was. Eight years back on our trip to New York we explored the Museum of Modern Art. It was the first household-name-famous painting I'd seen in person. Not as big as I expected, but stunning nonetheless. Van Gogh. Starry Night. I ran through the conservatory and out the door, tracking the blackbird as best I could. Jogging with my camera and bag wasn't ideal. By the time the bird landed, I was red and puffing hard. The shining bird with the dripping wing had landed on a branch next to a shuttered house. The surrounding houses were also condemned, and this one seemed to be in the worst condition of the bunch. The white paint on the doorframe was peeling, revealing the wood grain underneath in stripes like the teeth of a great beast. The shutters were drooping eyelids, hanging crooked from their hinges. The windows were dusty and glazed over with cataract grime, those that weren't shattered anyway. It was falling apart, a relic leftover from a more prosperous time, but it had an austere dignity that so many ancient and forgotten things do. The tree next to the slouching old shack had crashed through the roof at one point. There the blackbird perched, inviting me into its home. The door creaked open with a push, and the smell of wet wood and rotting fabric flushed out and spread over the brown lawn. Vines and mold reached in equal measure up the splotchy walls. Sunlight falling in through the hole in the ceiling stepped lightly down the stairs and caught dust in its place. An offwhite couch sat mouldering in one corner of the den, a table with a broken leg had years ago spilled its contents onto the floor. Green tendrils wrapped around lamp cords and stretched across rooms. A gentle drip in the stained kitchen sink rang out through the silent house. And all across the ceiling through the house hung little crystalline pods. Hundreds of cocoons dangling from the stucco, from fan blades, from mounted pots and pans and light fixtures. A few butterflies were already emerging, casting aside their comfortable skin to face the new. These cocoons continued up the stairway and onto the ceiling of the second floor. I crept up the uneven stairs, testing each one with a press of my foot just in case the whole thing was about to collapse. More chrysalis dotted the ceilings here, and so too did the pudgy little bugs that make them, inching their way across the abandoned home. Some bright and colorful, some drab and fuzzy, the caterpillars had moved into this space that people no longer wanted. The hole in the ceiling up there had been worse than it looked from the outside. A section of the wall had been caved in as the tree grew through it. Its boughs outstretched along the broken wall as if cleaving it open, a large ovular hole in the trunk  nearby slack like a hungry maw. Living branches and leaves intertwined with the dead lumber planks and leaden drywall. Caterpillars nibbled at the corners of the vibrant green foliage fanning out across what was once a bedroom, crawled up and down the bedposts and nightstand. I shudder to think what might have been festering under the mildewy comforter. The tiny creatures here covered nearly every interior surface after the mold and water damage had taken their parcels. A faint hum reverberated from somewhere within its walls. Now that I had taken in the place, I could start examining the insects themselves. The caterpillars were mostly typical: short, rotund, many brightly colored like little tubes of acrylic paint, but they were hardly exceptional. They went about their business with a casual disinterest in my presence in their reclaimed home. The butterflies, on the other hand, were illogical, inconceivable, exquisite. Every lepidoptera had painted wings. Gently fluttering clouds, each point engraved with some classic or another; a monet here, a frankenthaler there. My mind reeled at the implications that this suggested. Did we influence them somehow, affect them to grow with these patterns? Or were our artistic hands subtly moved by some unseen force to create these great works? That's what a lot of the ancients thought. Certain gods and muses could be literal in their influence. Divine inspiration. On the other hand, what if there was an outside force affecting us, but it wasn't helping us? What if it was indifferent to us, like the rest of the universe? Or actively malevolent? What if it wanted to reclaim the land from us, like the insects had taken this home? I knew that if I thought too much about the big questions of the universe I'd lose myself, forget I'm a person and feel that cosmic unreality in the pit of my stomach. It struck me as odd that other people could perceive me. Odd that I existed at all. I knew I should go home, but I couldn't leave for fear that it might vanish just as quickly as it had popped into my life. I briskly walked to the truckstop up the highway to grab snacks, drinks, and a travel blanket. I was going to stay and document what I saw for as long as I could. The insects in this house behaved quite differently from the ones outside. For one, they rarely traveled beyond the yard. The overgrown lawns dotted with wildflowers and tall grasses surrounding the place provided all that they needed. They also seemed to function as a unit, like a school of fish: when one moved, many moved in a cascading wave. The artwork on their backs spanned ages. I saw greek pottery imprinted on their wings, the birth of venus, carvaggio's light and shadow. Many of the works I recognized, some I didn't. Who knows how many photos I took of the butterfly with the Last Supper on its back. It must have been weeks that I slept on the dusty floor with a thin blanket and my camera bag as a pillow. The excitement and wonder kept me in place. I subsisted on empty gas station calories and sugary soda. The wrappers and empty bottles started radiating around me in a ritualistic circle as time wore on beyond my knowledge. My skin grew pale and oily, my hair matted, but I hardly noticed. I ate, observed, and very rarely slept. I was so enthralled I had hardly noticed the change. The recent hatchlings had been trending toward modern art: no longer DaVinci's and Gentileschi's, the butterflies flitted about with more post-industrial design on their wings, Mondrian's squares, Picasso's blue period. The hum within the house had grown as well, but I hardly took notice at the time. Then came the seismic shift. I was feeling weak, lightheaded and nearly delirious, when I saw a horse and rider mid-gait painted on an eggshell white body. No, not painted, I realized after some inspection. Photographed. Days passed and more butterflies emerged with film on their backs: images of war, recreation, winston churchill and che guavara. The hum was loud enough now that I couldn't ignore it. My head was pulsing and the noise was only exacerbating it. I needed to get out for a minute of fresh air. I walked the abandoned neighborhood, then beyond into the former arts district. The stars were crystals hanging in deep blue velvet overhead. The streets were empty and still. I crossed the old craft store and paused to look in the window. I felt an irresistible compulsion to paint. But I had no money left after abandoning my job for weeks. I tore a section of my greasy shirt and wrapped it around my fist. The window shattered more easily than I'd expected. I absconded back to my hideaway with tubes of oil paints, turpentine, brushes and rags, canvas. Wading through the trash filling up my own little cocoon, I began to paint. I started on the canvas, but soon found it confining. My paint spilled off the page and onto the walls, the floors, the ceilings, the trash. I couldn't say how long I painted. I never grew tired or hungry. I didn't need or want. I was in the flow. I simply was. The house was only so large, though. Two floors entirely covered in paint, dirty rags scattered about and turpentine dripping down the stairs, and yet I wasn't satisfied. I'd have to make something else my canvas. I started on my free hand, red and purple spots along my fingers, then green up my arm. Black along the torso, white stripes near ribs. I stripped off my remaining clothes that got in the way of my brush. Blue around my eyes, yellow bands across my head. Once I was entirely encased in paint, I felt my mind relax, deflating like air let out of a balloon. I grew aware of my surroundings again. The hum had grown so loud it was shaking the remaining furniture in the bedroom. I had been so preoccupied with the transformation of the creatures that I hadn't even noticed where they were actually coming from: caterpillars were pouring out of the hole in the encroaching tree. Swaths of crawling, squirming bugs spilled from the crooked mouth of bark and writhed in the dark room. On the wall opposite the tree, butterflies gathered. They stationed themselves in a square on the white paint. They flapped their wings and moved in unison. This patch of living color formed a pointilist image of her face. An image I had taken. My own photograph of my former wife. The insectoid screen undulated and shifted, forming new images in succession like a flipbook, each one displaying a moment from my past that I had captured. New York, Toronto, chopping vegetables, hiking through shale caves, the first snowfall of our last year together. I could feel the change curling inside me. Was I destined to take these photos, to mirror the natural patterns of the world? Or were these insects somehow directed to grow in accordance with my life? The swirling thoughts surged forth in waves of vertigo. My brain was swelling, pushing up against my skull. I smelled smoke from the stairway, acrid chemical flame and burning cloth. Flames of every color rose and licked at the blackened walls, dancing and fluttering. Thick smog was filling the room. I dropped to my hands and knees and crawled to the only place that seemed safe, into the buzzing tree. I nestled down into the bark as far as I could, only the top of my head peering out through the opening. I felt my new brethren creeping and slinking in the darkness all around me. I set up my camera and recorded this testimony with the last of its battery. Oh my stomach is pulsing, moving, as if something is crawling inside. I can feel it bubbling up like gold from deep within. My back is splitting with wet folded wings. The photographs on their wings flip faster and faster until it's a moving image, a film, streaming through the striations of black smoke. I can't stifle my laughter as I see my life playing out before me on the living screen. Loud full body spasms. How else can you react to the absurdity of life laid bare so bluntly before you? If a caterpillar can become a butterfly, what might I look like after my metamorphosis? What glory might humanity ascend to in its next phase? I envy you, because if you're watching this, you know. We're ready to reclaim what you have taken. I am hatching. I am ascending on painted wings ablaze. But I am not in pain. I am beautiful. CONWAY ON TAPE:  Well, I...I'm gonna need a minute. CLICK *** CONWAY: Nothing stays the same, no matter how hard we try. Something somewhere is always changing, like the water to vapor. Hell, even electrons are always moving around, can't quite pin ‘em down. The changes inside are the hardest to spot, though. And you're usually the last one to notice you've changed. You're you, after all. As I slipped my influence into every corner of this state, I could barely recall most of my life, such as it was. Didn't miss my body all that much either, never really felt like I fit in it anyway. But for a moment, I felt a bit nostalgic for my old job. This nostalgia is a warning sign that something isn't what it once was, that some part of you is no longer there. I hadn't seen the cracks forming yet. I was still intoxicated with my new position. There was a rock in my metaphorical shoe, though. A lingering thought I just couldn't shake, even with all this. It started with the phone call from the fisherman. “You're not real.” What the hell was that all about? Of course I'm real. “I think therefore” and all that. I'm the Boss. I've got buildings full of people who listen to me. Doesn't get much realer than that. But there was that itch somewhere in the vast and ever expanding recesses of my consciousness I couldn't quite scratch. I felt like I was forgetting something, or like I was about to remember something big. “How's Lucy?” *** Outro--interrupted *brakes screech* I fell asleep at the wheel and woke up at the bottom of an off-ramp. With no one else around and nothing to distract me, I dozed off. Just for a second. I'm not proud of it, but it's the truth. I caught myself quickly enough that I somehow managed to avoid smashing into any of the parked--well “parked”--cars on the highway. I was at a stop sign, and ahead of me was a one-lane country road. I couldn't see anyone in either direction for as far as my eyesight allowed. But below the stop sign was a bright green plaque, emblazoned with a path to what I'd been looking for: AISLING - FIVE MILES. Conway, here I come. *** LIZ: Is anyone here? *muffled response* LIZ: Hello? I know you're around somewhere. LIZ: Hey. Hey!...hmmm...hail and well met, shadow, I mean you no harm. *under her breath* “Hail and well met”? Jesus, what's wrong with me. SHADOW: *anxious* What was that? LIZ: I'm Liz, who the hell are you? SHADOW: *slowly, with effort* I...I don't know. It's hard to think. I'm...where am I? What am I? LIZ: I know, I totally felt the same. Just take a minute. Relax. I'm a friend. SHADOW: I can't feel my...anything. LIZ: Yup, that'll happen. Corporeality's kinda messed up here. So it goes. If you focus really hard, you might be able to keep yourself solid. See? SHADOW: I'm dreaming. This isn't real...I must still be asleep. LIZ: Sure, you sort of are. Anyway, what do you say we get out of here? See your friends again. SHADOW: But...wait, I remember something. I can't go yet. The Head Office. The Board Room. There's...there's something there. It's...oh god. The tower. We can't just leave it there. LIZ: Board Room? Can you show me? SHADOW: I think I can lead us there. But... LIZ, to WREN: Wren, this could be big. Could be a whole lot of shadows there for us to recruit. I'm going in. Good luck out there.

10 donne, tutte diverse tra di loro, che hanno fatto la storia italiana: eccelse nella scienza, nella matematica, nell'arte e nella letteratura. Cosa hanno in comune queste 10 donne, apparentemente così lontane l'una dall'altra? La forza, la determinazione ed il segno che hanno lasciato nella nostra storia. In questo articolo andremo a scoprire un po' di più su queste donne, sulla loro vita e su cosa le ha cementate nella nostra mente come icone. Donne rivoluzionarie in Italia Ecco a voi 10 donne che hanno cambiato la storia e la visione femminile, dal medioevo ai giorni nostri: 1) Matilde di Canossa (1046 – 1115) La grancontessa Matilde è una delle figure più importanti ed interessanti del Medioevo italiano.Figura femminile di grande importanza nella storia del Medioevo europeo, Matilde di Canossa a soli sei anni si ritrovò erede di un territorio che andava dal Lazio fino al Lago di Garda, strategico punto di passaggio obbligato sia per i Pontefici che dovevano insediarsi a Roma, sia per gli imperatori che a Roma dovevano essere incoronati. Seconda cugina dell'imperatore Enrico IV, ma fedele seguace della Riforma della Chiesa, portata avanti da Papa Gregorio VII, si ritrovò al centro di uno scontro epocale per la lotta delle investiture tra Papato e Impero.Matilde di Canossa è vissuta in un periodo di continue battaglie, di intrighi e scomuniche, un periodo che considerava le donne come esseri inferiori. Eppure, lei è stata capace di dimostrare una forza straordinaria e un'innata attitudine al comando. Sotto il suo comando il Dominio dei Canossa raggiunse la massima estensione, arrivando a conquistare tutti i territori a nord dello Stato Pontificio.L'imperatore Enrico IV di cui parlavamo prima, nel 1077 si recò a Canossa per ottenere, umiliandosi in veste di penitente, il perdono di papa Gregorio VII, ospite della contessa Matilde, proprietaria del castello. Di qui l'espressione "andare a Canossa", fare atto di sottomissione umiliante, ritrattandosi e riconoscendo la supremazia dell'avversario. 2) Artemisia Gentileschi (1593 - 1652) Artemisia Gentileschi è stata una pittrice di stampo caravaggesco. Il padre, Orazio, era un pittore e sin da piccola la Gentileschi ha dimostrato una passione per l'arte: nonostante ai tempi fosse proibito alle donne diventare pittrici, Artemisia fece il suo ingresso nel mondo dell'arte nel 1610 con il quadro Susanna e i vecchioni. L'artista è anche ricordata come una delle prime donne a denunciare uno stupro: portò Agostino Tassi (che era stato il suo maestro di prospettiva) a processo e rifiutò il matrimonio riparatore. L'iter del processo fu lungo e doloroso, ma la Gentileschi riuscì ad affrontarlo con coraggio.In seguito, si sposò con un fiorentino e si trasferì a Firenze, dove ricevette varie commissioni, anche dai Medici stessi. 3) Maria Montessori (1870 - 1952) Maria Montessori fu una delle prime donne italiane a laurearsi in medicina. È stata un'educatrice, pedagogista, filosofa, medica, neuropsichiatra infantile e scienziata italiana, e viene ricordata per il metodo educativo che porta il suo nome, utilizzato in migliaia di scuole dell'infanzia, elementari, medie e superiori in tutto il mondo.Il metodo Montessori si riferisce all'educazione del bambino dalla nascita all'età adulta. L'insegnante deve essere “solo” il mediatore che favorisce la voglia di fare, innata nel bambino; deve saper osservare, scegliere il materiale adatto e saper tacere al momento giusto. Nella sua analisi Maria Montessori vede quattro periodi dello sviluppo. Il primo (2-6 anni) ha per obiettivo l'esercizio dei sensi e l'educazione alla vita pratica e alla socialità (motricità, tempo, le faccende di casa, rapporto con la natura, indipendenza, silenzio, linguaggio, numeri, spazio, rumori e suoni, colori, scrittura, autoeducazione). Nel secondo periodo (7-12 anni) avviene il passaggio dal piano sensoriale al piano astratto. Tra i temi: studi sull'acqua, chimica,

We had the pleasure of interviewing Paolo Gregoletto of Trivium over Zoom video! Grammy-nominated band TRIVIUM — Matt Heafy [vocals, guitar], Corey Beaulieu [guitar], Paolo Gregoletto [bass], and Alex Bent [drums] — have released their tenth album, titled In The Court Of The Dragon, via longtime label Roadrunner Records. The record was produced and mixed by Josh Wilbur and recorded in the Fall of 2020 at Full Sail University in Orlando.The band has also shared the new song "Feast Of Fire," which is joined by an official music video. The footage was filmed at the band's HQ — The Hangar in Orlando. It was shot by director John Deeb. "There's always that one song you aren't expecting when you begin writing a new album," says Gregoletto about the song and, in turn, sharing an inside look at the band's songwriting process. "It could be a riff written on the spot in the rehearsal space, a lyric that pairs just right with a melody, or in the case of 'Feast Of Fire,' sitting right there in front of us in the middle of a demo that Corey brought in. We were well into pre-production at Full Sail when we all decided that something about the demo we had tracked was good but could be even better. Our producer Josh Wilbur even had in his notes: 'Bridge is special, maybe so special it needs its own song.' We tore the song apart and began again on the spot."He continues, "We went into this album knowing we had time to consider everything and anything that came about during this period, and if need be, we could start again if it didn't feel right given that no touring was on the horizon."Further pulling back the curtain, he says, "I had the words 'Feast Of Fire' written in my running list of notes for lyric ideas that I try to amass before we record. Something about the phrase stuck out to me. It felt like the missing piece of the story we were trying to tell with this album, a climactic moment and a real centerpiece for the narrative."He finishes, "After all these years, I'm still blown away at how a song can really appear out of thin air and take the album to a place you weren't expecting. Those are the moments we are always looking for when making a record."The album cover is an original oil painting by French artist Mathieu Nozieres (@mathieunozieres on Instagram)"While the music of In The Court Of The Dragon was taking shape, we knew we needed epic artwork of the type that you might see on the wall of an important museum from a long dead renaissance master," says Heafy. "After extensive research, we found one of the few living artists who is capable of creating artwork like Caravaggio and Gentileschi — painter Mathieu Nozieres. Mathieu took our song title and created an original oil painting on canvas unlike anything we could have ever imagined. It's so staggeringly breathtaking and epic and it looks like what the song and album sounds like." Last month, Trivium shared the album's title track, "In The Court Of The Dragon," which featured an epic intro composed and orchestrated by Ihsahn (Emperor) and was accompanied by an official short film music video directed by Ryan Mackfall. Loudwire called out the song as "a skillful blend of dynamics. And blast beats just sound really, really good beneath Matt Heafy's soothing clean singing" while Revolver labeled it "epic."We want to hear from you! Please email Tera@BringinitBackwards.com.www.BringinitBackwards.com#podcast #interview #bringinbackpod #PaoloGregoletto #Trivium #zoomListen & Subscribe to BiBFollow our podcast on Instagram and Twitter!

Nel 2021 in Italia sono già state uccise 65 donne. In Liguria, negli ultimi 18 mesi, sono già 10 i femminicidi registrati. Insieme all'avvocato Veronica Caprino, coordinatrice del Centro Antiviolenza Artemisia Gentileschi di Albenga, facciamo il punto della situazione nel savonese e cerchiamo di capire meglio le funzioni del centro.

1:10 - Frieze Editor-at-large Jennifer Higgie discusses her new book “The Mirror and the Palette: Rebellion, Revolution and Resilience: 500 Years of Women's Self-Portraits”23:12 - Artist Sandy Skoglund talks about her body of work, her current exhibit at the McNay in San Antonio and a group show she will be part of next year at LACMA. Known as a pioneer in staged photography, we discuss how she is actually an interdisciplinary artist whose work questions fact and fiction61:47 - Art headlines

Episode No. 501 features curator Davide Gasporotto and conservator Marcia Steele. Gasporotto, the senior curator of paintings at the J. Paul Getty Museum, recently acquired Artemisia Gentileschi's Lucretia (about 1627) for the museum. It went on view for the first time when the Getty re-opened after its pandemic-related closure. Gentileschi's Lucretia shows the wife of Roman nobleman Lucius Tarquinius Collatinus. After Lucretia was raped by a son of the king, she stabbed herself to death. Her suicide led to a rebellion that drove the ruling family from Rome and led to the the foundation of the Roman Republic. She was favorite subject of Renaissance and Baroque art. Marcia Steele led the conservation of Orazio Gentileschi's 1621-22 Danaë at the Cleveland Museum of Art. The conserved picture debuts in "Variations: The Reuse of Models in Paintings by Orazio and Artemisia Gentileschi," which is on view through August 22. Steele just retired as senior conservator at the museum.

Oggi parliamo di Lucretia, una donna romana che è diventata un modello di femminilità e che ha simboleggiato il passaggio dalla Monarchia a alla Repubblica Romana.3️⃣ Le 3 parole sono: denunciare, vendetta e suicidio.

Artemisia Gentileschi is by far the most famous woman artist of the premodern era. Her art addressed issues that resonate today, such as sexual violence and women's problematic relationship to political power. Her powerful paintings with vigorous female protagonists chime with modern audiences, and she is celebrated by feminist critics and scholars. Artemisia Gentileschi and Feminism in Early Modern Europe (Reaktion Books, 2020) breaks new ground by placing the artist in the context of women's political history. Mary D. Garrard, noted Gentileschi scholar, shows that the painter most likely knew or knew about contemporary writers such as the Venetian feminists Lucrezia Marinella and Arcangela Tarabotti. She discusses recently discovered paintings, offers fresh perspectives on known works, and examines the artist anew in the context of feminist history. This beautifully illustrated book gives for the first time a full portrait of a strong woman artist who fought back through her art. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices

Artemisia Gentileschi is by far the most famous woman artist of the premodern era. Her art addressed issues that resonate today, such as sexual violence and women's problematic relationship to political power. Her powerful paintings with vigorous female protagonists chime with modern audiences, and she is celebrated by feminist critics and scholars. Artemisia Gentileschi and Feminism in Early Modern Europe (Reaktion Books, 2020) breaks new ground by placing the artist in the context of women's political history. Mary D. Garrard, noted Gentileschi scholar, shows that the painter most likely knew or knew about contemporary writers such as the Venetian feminists Lucrezia Marinella and Arcangela Tarabotti. She discusses recently discovered paintings, offers fresh perspectives on known works, and examines the artist anew in the context of feminist history. This beautifully illustrated book gives for the first time a full portrait of a strong woman artist who fought back through her art. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices

Artemisia Gentileschi is by far the most famous woman artist of the premodern era. Her art addressed issues that resonate today, such as sexual violence and women's problematic relationship to political power. Her powerful paintings with vigorous female protagonists chime with modern audiences, and she is celebrated by feminist critics and scholars. Artemisia Gentileschi and Feminism in Early Modern Europe (Reaktion Books, 2020) breaks new ground by placing the artist in the context of women's political history. Mary D. Garrard, noted Gentileschi scholar, shows that the painter most likely knew or knew about contemporary writers such as the Venetian feminists Lucrezia Marinella and Arcangela Tarabotti. She discusses recently discovered paintings, offers fresh perspectives on known works, and examines the artist anew in the context of feminist history. This beautifully illustrated book gives for the first time a full portrait of a strong woman artist who fought back through her art. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/italian-studies

Artemisia Gentileschi is by far the most famous woman artist of the premodern era. Her art addressed issues that resonate today, such as sexual violence and women's problematic relationship to political power. Her powerful paintings with vigorous female protagonists chime with modern audiences, and she is celebrated by feminist critics and scholars. Artemisia Gentileschi and Feminism in Early Modern Europe (Reaktion Books, 2020) breaks new ground by placing the artist in the context of women's political history. Mary D. Garrard, noted Gentileschi scholar, shows that the painter most likely knew or knew about contemporary writers such as the Venetian feminists Lucrezia Marinella and Arcangela Tarabotti. She discusses recently discovered paintings, offers fresh perspectives on known works, and examines the artist anew in the context of feminist history. This beautifully illustrated book gives for the first time a full portrait of a strong woman artist who fought back through her art. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

Artemisia Gentileschi is by far the most famous woman artist of the premodern era. Her art addressed issues that resonate today, such as sexual violence and women's problematic relationship to political power. Her powerful paintings with vigorous female protagonists chime with modern audiences, and she is celebrated by feminist critics and scholars. Artemisia Gentileschi and Feminism in Early Modern Europe (Reaktion Books, 2020) breaks new ground by placing the artist in the context of women's political history. Mary D. Garrard, noted Gentileschi scholar, shows that the painter most likely knew or knew about contemporary writers such as the Venetian feminists Lucrezia Marinella and Arcangela Tarabotti. She discusses recently discovered paintings, offers fresh perspectives on known works, and examines the artist anew in the context of feminist history. This beautifully illustrated book gives for the first time a full portrait of a strong woman artist who fought back through her art. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

Artemisia Gentileschi is by far the most famous woman artist of the premodern era. Her art addressed issues that resonate today, such as sexual violence and women's problematic relationship to political power. Her powerful paintings with vigorous female protagonists chime with modern audiences, and she is celebrated by feminist critics and scholars. Artemisia Gentileschi and Feminism in Early Modern Europe (Reaktion Books, 2020) breaks new ground by placing the artist in the context of women's political history. Mary D. Garrard, noted Gentileschi scholar, shows that the painter most likely knew or knew about contemporary writers such as the Venetian feminists Lucrezia Marinella and Arcangela Tarabotti. She discusses recently discovered paintings, offers fresh perspectives on known works, and examines the artist anew in the context of feminist history. This beautifully illustrated book gives for the first time a full portrait of a strong woman artist who fought back through her art. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

Artemisia Gentileschi is by far the most famous woman artist of the premodern era. Her art addressed issues that resonate today, such as sexual violence and women's problematic relationship to political power. Her powerful paintings with vigorous female protagonists chime with modern audiences, and she is celebrated by feminist critics and scholars. Artemisia Gentileschi and Feminism in Early Modern Europe (Reaktion Books, 2020) breaks new ground by placing the artist in the context of women's political history. Mary D. Garrard, noted Gentileschi scholar, shows that the painter most likely knew or knew about contemporary writers such as the Venetian feminists Lucrezia Marinella and Arcangela Tarabotti. She discusses recently discovered paintings, offers fresh perspectives on known works, and examines the artist anew in the context of feminist history. This beautifully illustrated book gives for the first time a full portrait of a strong woman artist who fought back through her art. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Artemisia Gentileschi is by far the most famous woman artist of the premodern era. Her art addressed issues that resonate today, such as sexual violence and women's problematic relationship to political power. Her powerful paintings with vigorous female protagonists chime with modern audiences, and she is celebrated by feminist critics and scholars. Artemisia Gentileschi and Feminism in Early Modern Europe (Reaktion Books, 2020) breaks new ground by placing the artist in the context of women's political history. Mary D. Garrard, noted Gentileschi scholar, shows that the painter most likely knew or knew about contemporary writers such as the Venetian feminists Lucrezia Marinella and Arcangela Tarabotti. She discusses recently discovered paintings, offers fresh perspectives on known works, and examines the artist anew in the context of feminist history. This beautifully illustrated book gives for the first time a full portrait of a strong woman artist who fought back through her art. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Artemisia Gentileschi is by far the most famous woman artist of the premodern era. Her art addressed issues that resonate today, such as sexual violence and women's problematic relationship to political power. Her powerful paintings with vigorous female protagonists chime with modern audiences, and she is celebrated by feminist critics and scholars. Artemisia Gentileschi and Feminism in Early Modern Europe (Reaktion Books, 2020) breaks new ground by placing the artist in the context of women's political history. Mary D. Garrard, noted Gentileschi scholar, shows that the painter most likely knew or knew about contemporary writers such as the Venetian feminists Lucrezia Marinella and Arcangela Tarabotti. She discusses recently discovered paintings, offers fresh perspectives on known works, and examines the artist anew in the context of feminist history. This beautifully illustrated book gives for the first time a full portrait of a strong woman artist who fought back through her art. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

TW: Rape and Sexual Assault briefly discussed (not in detail)Thanks for listening! Hope you enjoyed. We are not art historians nor are we claiming to be, we just like art :) Don't take this too seriously Podcast Instagram: @paint_on_canvas_on_tapeEmail:paintoncanvasontape@gmail.com

Nella Storia dell'Arte ci sono molti enigmi, spesso oscuri e irrisolti. Carlo Lucarelli ce li svela compiendo un viaggio nel tempo tra grandi opere e storie immortali. La pittrice Artemisia Gentileschi, nell'ostilita' generale del XVII secolo, denuncio' per prima il proprio violentatore ed e' diventata un simbolo del femminismo.

Boeken van de maand april In een nieuwe aflevering van podcast Radio Savannah kletsen Lola en Suzanne jullie bij over nieuws uit de winkel en introduceren de boeken van de maand april. Deze maand zijn Lalalanding van Emily Kocken en De vrouwen aan wie ik ‘s nachts denk van Mia Kankimäki. Daarnaast staan we stil bij het feit dat onze podcast deze maand één jaar oud wordt! We bladeren nostalgisch door onze favoriete afleveringen. Heb jij een favoriete aflevering? Of luister je al vanaf vorig jaar april mee? We horen het graag! Laat het ons weten via de socials met #RadioSavannah. Wat is er te doen in april? Het is Maand van de filosofie. En dat betekent een mooie reeks filosofische nachten, programma’s, lezingen, debatten en festivals. Bekijk hier wat er in het land te doen is. Dit jaar staat het thema ‘natuur’ centraal. In de winkel vieren we dit thema met twee speciale uitgaven. Eva Meijer schreef een nieuw essay: Vuurdoop en Bibi Dumon Tak schreef het kinderboek De eik was hier. Andere  mooie natuurboeken vind je hier in de webshop. Op 21 april organiseert het Utrechts archief een avond over het slavernijverleden van Utrecht. Hoofdspreker is Nancy Jouwe en moderator is onze eigen Marischka Verbeek. De avond is gratis te volgen via een livestream. Alle informatie vind je hier. Als je je alvast in wilt lezen en zelf de sporen van het slavernijverleden van Utrecht wilt ontdekken, dan vind je hier in onze webshop het boekje Wandelgids Sporen van slavernij in Utrecht van Esther Captain.  Marischka schreef ook een mooie column voor Hebban, waarin ze uitlegt waarom anti-racisme geen luxe is voor witte mensen. Ze geeft ook mooie leestips voor iedereen die deze taak op wil pakken. Je kunt de column hier lezen. Boeken van de maand april Jean Rodin denkt meer dan goed voor hem is. Ooit was hij ‘een slimpie uit de sloppen’, maar nu leidt hij een machinaal leven als arbeider in een lichtfabriek. Op een dag springt zijn collega André Vérité van een hoogte, en sterft. Jean denkt dat André dood is door zijn schuld. Hij denkt ook dat hij verliefd is op zijn mooie zusje Odilette. Zij gelooft dat ze de anonieme drenkelinge uit de Seine is. Terwijl Jean de dood van André probeert te verwerken, leert hij de jongere Noël kennen, een existentiële ontmoeting die hem de kans geeft zijn leven over te doen. Vind het boek hier in de webshop. Mia Kankimäki deed wat we allemaal wel zouden willen: reizen naar alle plekken waarover je ooit hebt gelezen. Ze pakte haar koffer en volgde de voetsporen van tien schrijfsters, ontdekkingsreizigsters en kunstenaressen, vrouwen die deden waar hun hart vol van was. Karen Blixen, Artemisia Gentileschi of Alexandra David-Néel, allen toonden haar waardevolle levenslessen, zoals 'Put kracht uit je verwondingen' (Gentileschi), of 'De vraag is niet welke kaarten je krijgt, maar hoe je ze speelt' (Blixen), of 'Volg het pad dat voor je ligt. Gebruik je retourticket niet' (David-Néel). Zo is De vrouwen aan wie ik 's nachts denk ook het verhaal geworden van hoe Mia Kankimäki haar eigen angsten overwon. De vrouwen aan wie ik 's nachts denk is een inspirerend boek, deels persoonlijke memoires, deels reisverhaal, deels biografie, dat je meevoert over de wereld in de voetsporen van negentiende-eeuwse ontdekkingsreizigsters als Nellie Bly, Ida Pfeiffer, Mary Kingsley en Isabella Bird; van Karen Blixens koffieplantage in Kenia naar het Florence ten tijde van de renaissance van Sofonisba Anguissola en Lavinia Fontana; en naar het hedendaagse Japan van Yayoi Kusama. Vind het boek hier in de webshop. 

The llamas return this week to learn more about a kick-butt 17th century female artist, Artemisia Gentileschi. She had a rough start but truly made lemonade out of lemons. Join us in exploring Gentileschi's tribulations and triumphs! For any questions or comments, email us at artdramallama@gmail.com.

The sun has not shown in three days, Steph is still dying of the plague, the global economy is unstably controlled by a small ruling class. In many ways, today is a perfect day to talk about Italian Baroque queen: Artemisia Gentileschi. Thanks to (extremely) recent art historical focus shifts, names like Yayoi Kusama, Frida Kahlo, and Artemisia Gentileschi are recognized in the Art History Canon as talented and remarkable artists. Artemisia, in her own right, possess a timelessness that makes her art so approachable now as it was back in the 17th century (gotta love #WomenWhoKill). But, this wasn't always the case. Join us as we investigate the life of the Gentileschi's, yell into the void about how art history ignored women artists for nearly forever, get gore-y about descriptions of Judith slaying Holofernes, and remain amazed that this podcast has officially made it to 50 episodes. Things have changed, but we're changing with it. Donate. Sign petitions. Support Black-owned businesses. Educate yourselves. Listen. Speak. Repatriate. Stay Safe. Don't Touch Your Face. Wash Your Hands. Donate! Donate to Black Lives Matter LA, the Action Bail Fund, Black Visions Collective. Please be sure you've signed petitions. If you like what we do, you can support BYWAP over on our Patreon! Find us online! You can follow BYWAP on Twitter and Instagram. You can also find us over on our website! We want to hear from you, to share this time with you. We're in this together, and we're better together. Please leave us a review wherever you listen to podcasts. Every little bit helps as we grow, and we cannot wait to talk to you all again. This is global. Your voice matters. Systemic change is possible. It will not happen overnight—so keep fighting! We stand with you. Our music was written and recorded by Elene Kadagidze. Our cover art was designed by Lindsey Anton-Wood.

Despite deep personal challenges, Artemisia Gentileschi became a master painter in 17th-century Europe, a storyteller who brought a unique angle to her subjects, getting under their skin to bring them to life in paint. A new exhibition, sponsored by Intesa Sanpaolo, explores Gentileschi’s life and work for the first time in the UK. Artemisia at the National Gallery fulfils the underlying objective of Intesa Sanpaolo’s ‘Progetto Cultura’ – to promote Italy’s artistic heritage beyond its national borders, in Europe and the rest of the world. Listen to the podcast to hear art critic Alastair Smart, National Gallery curator Letizia Treves and Laurence Aliquot, Director of Promotion, Marketing and Cultural Partnerships at Intesa Sanpaolo, discuss highlights from Artemisia, the first major exhibition of the artist’s work in the UK.

The Latin scholar Shadi Bartsch has written a new translation of Virgil’s The Aeneid. She tells Kirsty Wark how this timeless epic about the legendary ancestor of a Roman emperor has been constantly invoked and reinterpreted over its two thousand year history. She argues that this poem still has much to say to contemporary readers about gender, politics, religion, morality, nationalism and love. It was while arguing about the merits of the Aeneid’s tragic queen, Dido of Carthage, that the classicist Natalie Haynes decided it was time to rescue the women in ancient myths. Centuries of male interpretations, she argues, has led to the demonization and dismissal of the likes of Medusa, Phaedra and Medea. In Pandora’s Jar: Women in Greek Myths she goes back to the original stories, reinstating the more complex roles given to these women in antiquity. In the 17th-century the Italian painter Artemisia Gentileschi drew inspiration from the women in ancient myths, allegories and the Bible, as seen in a new exhibition of her work at the National Gallery in London. The curator, Letizia Treves, says that Gentileschi challenged conventions and defied expectations, painting subjects that were traditionally the preserve of male artists, and transforming the meek into warriors. Producer: Katy Hickman (Picture credit: the National Gallery)

Art historian and curator Mary Kisler is back to discuss the Artemisia Gentileschi exhibition currently on at the National Gallery in London. Gentileschi (1593 - c.1656) was an Italian Baroque artist, and one of the first women to forge a successful career as a painter. She painted subjects that were traditionally the preserve of male artists.

You voted, and we listened! For the next couple of months, we’re replaying your top five favorite episodes of ArtCurious. Thanks to the many who voted! Up first this week— Episode #42 from our fourth season, all about Gentileschi’s Judith Slaying Holofernes. Please SUBSCRIBE and REVIEW our show on Apple Podcasts! Sponsors: Native: Use our link or use promo code artcurious at checkout for 20% off your first order. Acorn TV: Try Acorn TV free for 30 days using my promo code artcurious Learn more about your ad choices. Visit megaphone.fm/adchoices

Una mujer. Una artista. La venganza perfecta.

Umas informações pra você dizer pelo menos que sabe do que se trata o feminismo radical antes de sair xingando na internet. Saiba das coisas antes de falar delas, é chique. A imagem de fundo desse episódio é uma pintura da artista Artemísia Gentileschi, a artista wue citei que fala sobre pedofilia tá no instagram.com/julianalossioart e o outro ilustrador que citei é instagram.com/t0sko. Pra perguntas e pra acompanhar o podcast me sigam no instagram.com/saturnissima e instagram.com/psifemea. Sigam bruna em instagram.com/bruna_c sta

Una donna. Un'artista. La vendetta perfetta.

In questo Episodio di Contaminazione Artistica vi racconto la Storia dell'Artista Artemisia Gentileschi e dell'apporto femminile alla storia dell'Arte.Seguimi su Telegram per tutti gli aggiornamenti http://t.me/alsorace Instagram : https://www.instagram.com/alsorace/

Una de les seccions del Som Cultura és 3 mints d'art, un repàs a la història de l'art en tan sols tres minuts. Un breu resum d'històries relacionades amb grans obres, artístes, curiositats o tècniques pictòriques. Tres minuts per a reviure el passat artístic i recordar als més grans mestres de la pintura i l'escultura.

Una de les seccions del Som Cultura és 3 mints d'art, un repàs a la història de l'art en tan sols tres minuts. Un breu resum d'històries relacionades amb grans obres, artístes, curiositats o tècniques pictòriques. Tres minuts per a reviure el passat artístic i recordar als més grans mestres de la pintura i l'escultura.

À L’OCCASION DE LA SORTIE DU RÉCIT DESSINÉ “DE LA VIERGE À VÉNUS : REGARDS SUR LA FEMME PEINTE” DE L’ARTISTE PATRICK CHAMBON AUX ÉDITIONS LES IMPRESSIONS NOUVELLES. EN COLLABORATION AVEC LA GALERIE DE L’ANGLE. Patrick Chambon a retracé dans son livre : “De la Vierge à Vénus - Regards sur la femme peinte” l’histoire de l’objet le plus désiré de la peinture : le nu. L’érotisme existe dans la peinture sous la forme privilégiée d’une femme peinte, nue, sortie de l’écume, surprise au bain ou à sa toilette pour devenir la peinture-elle-même comme objet nu. Patrick Chambon a développé son récit un peu à la façon d’une enquête policière revisitant les tableaux de Botticelli, Titien, Tintoret, Caravage, Rubens, Artemisia, Gentileschi, Zurbaran, Le Bernin, Fragonard, Goya, Ingres, Courbet, Manet, Degas, Schiele, Bacon, Picasso etc . Il constate : « C'est l'histoire d'un dévoilement progressif, avec un rapport entre la virginité et la maternité ; la Vierge va se dévoiler progressivement en donnant le sein à Jésus. Puis c’est LA Vénus qui s’impose progressivement. C'est tout un travail à partir de tableaux, d'images connues, mais il y a aussi ces moments de suspens. » Lors de cette rencontre Patrick Chambon va nous donner un aperçu de sa façon de travailler mais aussi répondre à la question de la position du spectateur dans la peinture : masculin ou féminin... www.silencio-club.com SILENCIO on Apple Podcasts : apple.co/2KRPPeg SILENCIO on Spotify : spoti.fi/33ESzUO

Cette semaine, La Contrexpo décrypte Mondrian à Marmottan et la Collection Alana à Jacquemart-André. Guillaume Peigné, historien de l'art, reçoit Bénédicte Bonnet Saint-Georges de La Tribune de l’Art et Zoé Kennedy de Time Out. En savoir + : Mondrian à Marmottan Monet Jusqu'au 26 janvier 2020, le Musée Marmottan Monet consacre une exposition à Piet Mondrian, principalement connu pour ses peintures abstraites aux lignes épurées et ses carrés rouge, jaune et bleu. Près de soixante peintures sont présentées en exclusivité à Paris. https://www.marmottan.fr/expositions/mondrian-figuratif/ La Collection Alana à Jacquemart-André Jusqu'au 20 janvier 2020, le Musée Jacquemart-André met à l’honneur la Collection Alana, l’une des plus précieuses et secrètes collections privées d’art de la Renaissance italienne au monde, actuellement conservée aux Etats-Unis. Près de 75 chefs-d’œuvre des plus grands maitres italiens comme Lorenzo Monaco, Fra Angelico, Uccello, Lippi, Bellini, Carpaccio, Le Tintoret, Véronèse, Bronzino ou Gentileschi sont présentés. https://www.musee-jacquemart-andre.com/fr/collection-alana

Breach Theatre co-directors Ellice Stevens and Billy Barrett met me to discuss It’s True, It’s True, It’s True. The show restages the seventeenth-century trial of artist Agostino Tassi for the rape of teenage Artemesia Gentileschi, who would become one of the most famous painters of her era. Combining courtroom drama, stagings of some of Gentileschi’s most famous – and feminist – paintings, punk music, and a powerful three-woman ensemble, It’s True, It’s True, It’s True confronts sexual, social, and institutional violence against women. Billy, Ellice, and I talk ‘post-verbatim’ theatre, devising, performing Artemesia, #MeToo, rage, care, design, structuring, and staging nakedness, sex, and violence. It’s True, It’s True, It’s True was an award-winning hit at the 2018 Edinburgh Fringe and London’s New Diorama Theatre and returns to Edinburgh as part of the British Council’s 2019 Showcase before a UK tour. https://www.facebook.com/breachtheatre/

When The Specials released their new album Encore recently, their first new music with Terry Hall since the classic Ghost Town in 1981, it went straight to Number One. Nearly four decades on from their split, the Coventry band's lead singer Terry Hall discusses the new album and how he found himself back in the recording studio with his long-term collaborators Lynval Golding and Horace Panter after all these years.This year is the 25th anniversary of the first universal democratic elections in South Africa which resulted in Nelson Mandela becoming President of the new rainbow nation. Athol Fugard's plays dramatise the injustices of apartheid and were part of the struggle that led to those elections. Now two of his plays are about to open in the UK, 1961's Blood Knot, and, A Lesson, which was first performed in 1978. Directors Janet Suzman and Matthew Xia discuss the importance of Fugard and how, 25 years after the end of apartheid, his plays speak to us today. As the National Gallery's newly acquired self-portrait by Artemisia Gentileschi begins a grand tour of the UK starting at the Glasgow Women's Library, curator Letizia Treves discusses the significance of this early 17th Century painting and Gentileschi's extraordinary career as one of the leading artists of the Baroque. Music journalist Dorian Lynskey looks at the life of Keith Flint, lead singer of dance band The Prodigy.Presenter, John Wilson Producer, Dymphna Flynn

Fu tra le più importanti personalità dell'arte a cavallo tra Cinquecento e Seicento: è Orazio Gentileschi, grande pittore la cui arte è in sospeso tra il manierismo che si riscontra nei primi anni della sua attività e il nascente linguaggio barocco che invece si fa strada in alcune delle sue ultime realizzazioni, sebbene il pittore non si possa definire affatto un pittore barocco. Nato a Pisa nel 1563, il suo vero nome era Orazio Lomi, che poi cambiò in Gentileschi, cognome dello zio materno a cui era stato affidato durante il suo soggiorno a Roma. Già a tredici anni infatti Orazio si trovava nella capitale dello Stato Pontificio dove dapprima studiò con l'altrettanto famoso fratello Aurelio e quindi, più avanti, rimase affascinato dalle opere di Caravaggio di cui fu grande amico. Raggiunse tardi la maturità ma realizzò capolavori famosi e molto coinvolgenti: scopriamoli con Ilaria e Federico!

Fu tra le più importanti personalità dell'arte a cavallo tra Cinquecento e Seicento: è Orazio Gentileschi, grande pittore la cui arte è in sospeso tra il manierismo che si riscontra nei primi anni della sua attività e il nascente linguaggio barocco che invece si fa strada in alcune delle sue ultime realizzazioni, sebbene il pittore non si possa definire affatto un pittore barocco. Nato a Pisa nel 1563, il suo vero nome era Orazio Lomi, che poi cambiò in Gentileschi, cognome dello zio materno a cui era stato affidato durante il suo soggiorno a Roma. Già a tredici anni infatti Orazio si trovava nella capitale dello Stato Pontificio dove dapprima studiò con l'altrettanto famoso fratello Aurelio e quindi, più avanti, rimase affascinato dalle opere di Caravaggio di cui fu grande amico. Raggiunse tardi la maturità ma realizzò capolavori famosi e molto coinvolgenti: scopriamoli con Ilaria e Federico!

Bernardo Strozzi è stato uno dei maggiori protagonisti della vivace stagione del Barocco genovese. Nato nel 1581, si formò dapprima presso un pittore locale, quindi passò alla bottega di Pietro Sorri, manierista senese trasferitosi a Genova, ed ebbe modo di studiare l'arte dei maestri toscani attivi a Genova. Trovò quindi diversi spunti nell'arte dei grandi pittori dei primi anni del tempo: Barocci, Caravaggio, Gentileschi, Rubens, Van Dyck. La sua è un'arte originale perché parte da un ambito locale e riesce a fondere suggestioni di diverse provenienze (nel 1630, tra l'altro, Bernardo Strozzi si trasferì a Venezia e la sua arte ne risentì). È considerato anche come uno dei più importanti pittori di genere del Seicento.

Bernardo Strozzi è stato uno dei maggiori protagonisti della vivace stagione del Barocco genovese. Nato nel 1581, si formò dapprima presso un pittore locale, quindi passò alla bottega di Pietro Sorri, manierista senese trasferitosi a Genova, ed ebbe modo di studiare l'arte dei maestri toscani attivi a Genova. Trovò quindi diversi spunti nell'arte dei grandi pittori dei primi anni del tempo: Barocci, Caravaggio, Gentileschi, Rubens, Van Dyck. La sua è un'arte originale perché parte da un ambito locale e riesce a fondere suggestioni di diverse provenienze (nel 1630, tra l'altro, Bernardo Strozzi si trasferì a Venezia e la sua arte ne risentì). È considerato anche come uno dei più importanti pittori di genere del Seicento.

Artemisia Gentileschi è stata una grandissima artista: figlia di Orazio Gentileschi, famoso pittore amico di Caravaggio, seppe rivelare il proprio talento e riuscì a imporsi in una società chiusa, in cui le donne non avevano molte possibilità di emergere. Nota è la triste vicenda della violenza subita, una vicenda che si ripercuote nella sua arte, che diventa spesso cruda e brutale. Artemisia si mosse in ambito caravaggesco ma propose un'arte molto originale, ci ha lasciato capolavori di grande realismo e spesso anche di spiccata sensualità. Con Ilaria e Federico andiamo alla scoperta di un'artista che è riuscita a compiere nella società del Seicento un cammino moderno, libero e indipendente.

Artemisia Gentileschi è stata una grandissima artista: figlia di Orazio Gentileschi, famoso pittore amico di Caravaggio, seppe rivelare il proprio talento e riuscì a imporsi in una società chiusa, in cui le donne non avevano molte possibilità di emergere. Nota è la triste vicenda della violenza subita, una vicenda che si ripercuote nella sua arte, che diventa spesso cruda e brutale. Artemisia si mosse in ambito caravaggesco ma propose un'arte molto originale, ci ha lasciato capolavori di grande realismo e spesso anche di spiccata sensualità. Con Ilaria e Federico andiamo alla scoperta di un'artista che è riuscita a compiere nella società del Seicento un cammino moderno, libero e indipendente.