![]() ![]() Few of Artemisia's self-portraits survive and the references to them in the artist's correspondence only hint at what others might have looked like. Artemisia here fuses two established visual traditions within a single image. The portrait medal struck by Felice Antonio Casoni, celebrating the Cremonese painter Lavinia Fontana, depicts on the obverse a profile portrait of the artist, while on the reverse appears an allegory of Painting. There are precedents for this conflation of identities in representations of female artists. ![]() The work is also, however, a self-portrait. With clothes of evanescently coloured drapery, she holds a brush in one hand and a palette in the other. Artemisia captures the essentials of this description, leaving out the inscription on the mask and the gagged mouth, intended to symbolise that Painting is dumb. #Glitterato pittura full#Artemisia follows the standard emblematic handbook of the period, the 'Iconologia' of Cesare Ripa, where Painting is described as 'a beautiful woman, with full black hair, dishevelled, and twisted in various ways, with arched eyebrows that show imaginative thought, the mouth covered with a cloth tied behind her ears, with a chain of gold at her throat from which hangs a mask, and has written in front 'imitation'. On one level the work depicts an allegorical figure of Painting, and was described as such in Charles I's inventory. She was invited in 1638 by Charles I to come to London to join her father, Orazio Gentilieschi, who had been working in England since 1626. It was probably during her brief English sojourn (1638-c.1641) that Artemisia Gentileschi produced this painting. She holds a brush in one hand and a palette in the other, cleverly identifying herself as the female personification of Painting - something her male contemporaries could never do. ![]() #Glitterato pittura how to#While the cradle adds a bit of construction time over a standard drop spine, it offers a relatively simple solution for showing users how to use this special book.Artemisia Gentileschi was invited to London in 1638 by Charles I, and probably produced this sophisticated and accomplished self-portrait in England. I think the ribbon placement provides a clear indicator of what to do when opening the box, and once pulled, the rest of the structure guides the cradle into place. Of course, the best feature of this style is the intuitiveness of its use. Building the cradle in a wrap-around style for the book was necessary to create a more fluid movement. My initial thought was to build two separate cradle “wings” to attach beneath the right and left box trays but this made the opening and closing action of the box a bit awkward. This was my first attempt at building this type of enclosure and I have already thought of ways to improve it. When finished, the cradle platforms fold back around the book to allow the box to close. One can then prop the second platform in the same manner on the right to support the book while in use. When opened, the user must lift and prop the first platform of a cradle via a ribbon in order to access the book. The solution I landed on is a drop spine box with an integral, or built-in cradle. Since the delicate nature of the boards is not apparent upon visual inspection, we needed a means of signaling to future researchers that this book requires special care before it’s handled. The book’s value alone merited a custom drop spine box for protection, however, the binding also created challenges.Īlthough the binding is well in tact, the soft, worn cover boards flex and bow in dramatic fashion when lifted. #Glitterato pittura series#The following is a guest post by Lindsey Hobbs, Collections Conservator in our Preservation Office:Ī newly acquired rare edition of Giambatista Piazzetta’s Studi di Pittura, a series of engravings to guide aspiring artists printed in 18th-century Venice, presented some handling and storage concerns for the library. ![]()
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