Further to my previous
post re "Orazio and Artemisia Gentileschi; Met
Museum's Exhibit- NY Times-2/22/02", Professor
Emeritus James Mancuso
makes the following observations:
(1) Would a critic of 1950 have made the claim
that Artemesia Gentileschi
was more famous than her father, Orazio? Is her
rise in fame correlated with
the rise of the women's rights movement?
(2) Has a byproduct of the "Women's Movement's"
focus on Artemisia served
to create renewed interest in the Neapolitan
Baroque artists?
(3) What effect did the Northern Italian attitude
of "superiority" have on the way in
which the fame of the highly productive and original
Neapolitan Baroque
painters rose and fell? Was their work relatively
ignored as a result of the
acceptance of the view that the Southern Italians
were primitive,ungovernable
people?
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>From Professor Emeritus James Mancuso:
How can it be said that Artemesia
Gentileschi is or was more famous
than her father, Orazio.
I would like to see some kind of "citation index" (something like the
administration of universities gather on professors in order to find
out if
a professor's work is being used by his/her colleagues) on Orazio and
Artemesia. I would want to see an annual assessment over the
last 50 years.
I think that one might be able to offer some interesting hypotheses
about
the correlation between the rise of the women's rights movement and
the
recognition of Artemesia's work.
One can get a good look at some representative work of Artemesia Gentileschi
by going to the www site at:
http://www.kfki.hu/~arthp/html/g/gentiles/artemisi/index.html
Orazio's work can be seen by going to the site found at:
http://www.kfki.hu/~arthp/html/g/gentiles/orazio/index.html
What might be quite interesting for those who study the status of Southern
Italy and the emigrants from Southern Italy would be the way in which
the
fame of the highly productive and original Neapolitan Baroque painters
rose
and fell as did the efforts to generate the view that the Southern
Italians
were viewed as primitive, ungovernable people. If one did that
study, we
would see, first of all, that Orazio Genteleschi became an admirer
and
follower of Caravaggio, and helped to spread the fame of Caravaggio's
immensely original work throughout Europe. Artemesia's connection
to the
Neapolitan Baroque painters was expressed not only in her creations,
but
also in her having moved to Naples, where she spent the last 21 years
of her
life (1630-1651).
One of the most outstanding of the Napolitan Baroque painters, Salvatore
Rosa, was quite famous in The USA. Rosa was a painter of extravagantly
romantic, almost mystical landscapes. He was also an accomplished poet,
satirist, actor, and musician. He was very involved in anti-Spanish
political activity.
The famed Hudson River School of painters treated Rosa as their mentor.
In reading some excerpts from the journals of Merriweather Lewis, I
was
jolted as I read Lewis' efforts to describe a dramatic scene of water
falls
on the upper Missouri, in what is now the state of Montana. Lewis
tried to
describe verbally what he saw, and indicated that he would draw a pencil
sketch, knowing that he could not do justice to the scene. He
then said, "I
wished for the pen of Salvatore Rosa or the pen of [James] Thompson
that I
might be enabled to give the enlightened world some just idea of this
truly
magnifficent (sic) and sublimely good object. "Apparently, Lewis expected
that
the "enlightened world" of The USA, in 1806, would know that Salvatore
Rosa
could convey the natural beauty of Montana.
I would venture that today most people who think of Italian art would
immediately think of the great Rinacimento painters, the Mannerists,
and the
Venetians.
Recently, however, the art world has been giving more and more attention
to
the Neapolitan painters. Indeed, many Southern Italians who might have
attended church in Siracusa or Naples would have seen examples of Caravaggio
and other Neapolitan Baroque painters.
Those of us who try to understand and appreciate the great
Southern-Italy-to-the-USA can be most pleased that NY City's Metropolitan
Museum is showing the works of the Gentileschis. Perhaps the
art of
Southern Italy will become more famous and appreciated through that
effort.
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