#movement: accademia delle arti del disegno

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Self-Portrait as the Allegory of Painting [La Pittura], c. 1638-1639 Artemisia Gentileschi (1539-1652)

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Academic Style

(super simplified)

In a rose garden - Lawrence Alma-Tadema

The academic style appeared in the 1815s, after the napoleon war. It was heavily influenced by the artistic standards of the French Académie des Beaux-Arts, and combined elements of neoclassic and romantic art, two quite different artistic movements. Its production continued into the 20th century but fell out of favour in the newer art movements of the time, the first being the Impressionist movement.

The effect of this movement lead to the restriction of access for women artists, as they were omitted from entering these establishments on the grounds of sensibility, as nudity was commonplace in artwork. However, special arrangements were sometimes made for female students up until the 20th century. (Look at the royal academy of arts page on it!)

In the 16th century, many art academies sprung up. The first academy of art was Accademia delle Arti del Disegno which housed artists such as Michelangelo, Bronzino and later, Artemisia Gentileschi (the first woman to join the academy). Most academies began in Italy, but many eventually sprung up around Europe.

A decade from the development of the first academy, Accademia di San Luca was developed in Rome, which became the model for France's Académie Royale de Peinture et de Sculpture (Later changed to Academie des Beaux-Arts) which opened in 1648.

Development

During the 19th century, the debate between Poussinists and Rubenists revived, with the results being that artists aimed to replicate the line of neoclassicism with the colour of romanticism. This is fully summarized in Historicis from William-Adolphe Bouguereau that a good artist is one that sees colour and line the same. Historicism was another strong Bouguereau that a good artist is styles. It ran from platonic representations to more idealized forms to represe theme, are in abstract and simplified areas. Previously unfashionable rococo style became popular again, with common subjects from that period reigniting popularity once more.

Training

Younger artists usually went through four years of academic training in the École des Beaux-Arts (French art academies). To be accepted into these academies, Students had to pass an exam and carry a letter of reference from a noted professor.

Academies

Academies were considered the foundational building blocks for the development of skills in academic success. There were the nude forms of people and took multiple stages to develop to this method.

Students were first told to study classical sculptures to become familiar with light, contour and shade. This

was considered a crucial step in the development process.

After these drawings were presented for grading, if and only if approved, the young artists moved onto drawing from plaster casts of famous sculptures.

Finally, the last step would be to study from live models.

Painting

Painting wasn't taught in École des Beaux-Arts until after 1863, of which, use of the brush would be introduced after this step.

Criticisms

Realists criticized academic art for its idealistic portrayals of events, often mythical. There was little texture, with surfaces being almost watered down for an ethereal look.

Impressionists had similar points of contention with realism, arguing the high polish the artists gave to their paintings was a filtered lie.

Many of those who criticized the movement, including Claude Monet were originally apart of it themselves.

[italianartsociety]

By: Amy Fredrickson 

Artemisia Gentileschi was born on July 8, 1593, in Rome and is one of the most distinguished artists of her generation. She challenged the societal limitations placed on female artists during her time and became a successful history painter in her own right. Her career took her from Rome to Florence, Venice, London, and Naples, where she worked for elite patrons such as the Medici family in Florence and King Philip IV of Spain.

Artemisia was the eldest of Prudenzia Montoni and Orazio Lomi Gentileschi’s (1563–1639) five children as well as their only daughter. She was born into an artistic family. In addition to her father, her grandfather Baccio Lomi (c.1550–1595) and her uncle Aurelio Lomi (1556 – 1622) were well-known Pisan painters.

Originally a mannerist-style painter, Orazio became a follower of Caravaggio’s practice of working from nature, and he trained Artemisia to paint in this manner. As a child, Artemisia worked in his studio, mixing pigments and making varnishes. She learned the techniques of chiaroscuro, which was characteristic of Caravaggist paintings. In turn, Artemisia was a second-generation champion of Caravaggio’s realism; her first recorded paintings are almost indistinguishable from her father’s, such as Susanna and the Elders (1610). Painted a few years later, Judith and Her Maidservant (c.1614-20) in the Palazzo Pitti sets her apart from Orazio for its  emotive protagonists and deep tenebrism.

Orazio hired painter Agostino Tassi (1578 – 1644) to tutor Artemisia. In the spring of 1611, Tassi raped her, and he refused to fulfill his promise to marry her. Orazio took him to trial because the crime against his daughter was a crime against his family’s honor. Artemisia’s infamous 1612 trial was well-documented and lasted seven months. She was forced to provide a testimony under torture. Found guilty, Tassi was sentenced to banishment from Rome for five months; however, his punishment was not enforced.

Shortly after, Artemisia married Florentine artist Pietro Antonio di Vincenzo Stiattes (b.1584), and they moved to Florence. Before their arrival, Orazio wrote to the dowager Grand Duchess of Tuscany, Christina of Lorraine,  requesting her help in preventing Agostino Tassi's release from the Corte Savella where he was being jailed. In return, Orazio offered to send her one of Artemisia's paintings, Judith and Her Maidservant (c.1614-20).

Artemisia established herself as an independent artist in Florence, and she began developing her distinct style. She pushed against the societal norms established for women during her time, such as relegating women painters to the genre of still life or portraiture. Instead, she concentrated on history painting. She established herself within Florentine literary circles, which led to commissions from the Medici family and Michelangelo Buonarotti the Younger. She painted Judith and Holofernes (c. 1612–1621) and the Penitent Mary Magdalene (1620–1625) in the Palazzo Pitti for the Medicis, and for Casa Buonarotti, she painted a ceiling painting called the Allegory of Inclination (1615–1617). Her Florentine paintings illustrate her development beyond her father’s teachings and those of Caravaggio as she introduced a more polished surface, brighter colors, and sophisticated iconography. Perhaps these advances were a product of her association with the poets, painters, and intellectuals she had encountered in Florence. In 1616, Artemisia became the first female member of the Accademia delle Arti del Disegno. 

Artemisia was business savvy; she ran her own studio and controlled her finances. The move to Rome may have coincided with Grand Duke Cosimo II de’ Medici’s death in 1621. His successor was Ferdinando, his ten-year-old son, who was governed by his mother and grandmother, and ultimately, their tastes leaned toward penitent biblical figures rather than Artemisia’s bloodletting heroines.

In 1620, Artemisia and her husband returned to Rome for approximately six years. Judith and her Maidservant (c. 1623-25), now in Detroit, dates to this time, although how many paintings Artemisia produced during her second Roman period is unclear. Little is known about her involvement in Roman artistic circles of this period, yet Simon Vouet’s portrait of Artemisia for the papal secretary Cassiano dal Pozzo provides some insight that she was associated with an elite circle of patrons and possibly the Academy of the Desiosi.

In 1627, Artemisia traveled to Venice for a few years to possibly attain commissions. During her Venetian sojourn, she participated in literary circles such as the Accademia degli Incogniti. Venetian poetry of this time alludes to her status in these circles. While in Venice, Artemisia began to specialize in monumental biblical and historic women; the subject of these paintings featured the triumphs and tragedies of these heroines.

In 1629, the Spanish viceroy, the Duke of Alcalá, invited Artemisia to Naples, and a year later, she resided in Naples and ran a successful studio. A remarkable example of this period is her Esther before Ahasuerus (1627-1630), which hints at her Venetian sojourn. The incorporated grandiose movements and ornamental dress emit an operatic air. 

Her recently discovered paintings, such as Corsica and the Satyr (c. 1630-35) and Christ and the Samaritan Women (c. 1637), reveal that the 1630s marked a high point in her career. What sets these works apart from her earlier paintings are her lyrical subjects and the loose Venetian-inspired brushwork of broad white strokes with colors applied on top. During the 1630s, she began incorporating rich colors, such as ochres, blues, and cinnabar red. Artemisia created dimension and drama through her use of such rich hues.

Artemisia left Naples in 1638 to assist her ill father in London. Orazio worked for the English court beginning in 1626 and was working on ceiling paintings for the Great Hall in the Queen’s House in Greenwich. By 1640, she returned to Naples, where she remained until her death. It is unknown when she died, but a recently discovered document shows her living in Naples in August 1654. It is plausible that Artemisia died during the 1656 plague that had ravaged Naples and killed half of its inhabitants. 

Images:

Self-Portrait as the Allegory of Painting, c.1630, oil on canvas, 96,5 x 73,7 cm., Royal Collection, Windsor

Susanna and the Elders, 1610, oil on canvas, 170 x 121 cm., Schloss Weissenstein, Pommersfelden

Judith and Her Maidservant, c.1614-20, oil on canvas, 114 x 93.5 cm., Galleria Palatina (Palazzo Pitti), Florence

Allegory of Inclination, c. 1615, oil on canvas (ceiling), 152 cm × 61 cm., Casa Buonarroti, Florence

The Penitent Mary Magdalen, 1620-25, oil on canvas, 146 x 109 cm., Galleria Palatina (Palazzo Pitti), Florence

Judith Beheading Holofernes, 1612-21, oil on canvas, 199 x 162 cm., Galleria degli Uffizi, Florence

Judith and her Maidservant, c. 1623–1625, oil on canvas, 184 x 141.6 cm., Detroit Institute of Art.

Esther Before Ahasuerus, c. 1627-1630, oil on canvas, 208.3 cm x 273.7 cm., Metropolitan Museum of Art. 

Corsica and the Satyr, c.1630-35, oil on canvas, 155 x 210 cm., Private Collection. 

Christ and the Samaritan Women, c. 1637, oil on canvas, 267.5 x 206 cm., Private Collection.

References: 

Sheila Barker, 'Artemisia's Money: The Entrepreneurship of a Women Artist in Seventeenth-Century Florence,' Artemisia Gentileschi in a Changing Light, ed. by Sheila Barker (London, 2018), pp 59-88

Breeze Barrington, 25 April 2020, "The Trials And Triumphs Of Artemisia Gentileschi," Apollo Magazine. [online] <https://www.apollo magazine.com/artemisia-gentileschi-london/> 

Ward R. Bissell, Artemisia and the Authority of Art: Critical Reading and Catalogue Raisonné (University Park, 1999)

Ward R. Bissell,‘Artemisia Gentileschi-A New Documented Chronology,’ The Art Bulletin 50, no. 2, (1968), pp. 153–168. 

Patrizia Costa, ‘Artemisia Gentileschi in Venice’, Source: Notes in the History of Art 19, no. 3, (2000), pp. 28-36

Mary D. Garrard,  'Artemisia Gentileschi's 'Corisca and the Satyr,'' The Burlington Magazine 135, no. 1078 (1993), pp. 34-38

Mary D. Garrard, Artemisia Gentileschi: The Image of the Female Hero in Italian Baroque Art (Princeton, 1989)

Jesse Locker, Artemisia Gentileschi: The Language of Painting (New Haven, 2015)

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Go to a abandoned exhibition at the bigger art museums today and the artisan on affectation is best acceptable to be a man; alone about one-fifth of such shows at New York’s MoMA, Paris’s Centre Pompidou, and the Tate Beat in London featured women artists in contempo years. Go aback added in time and it becomes harder and harder to acquisition changeable artists or their work. But that isn’t because they don’t exist. They’ve aloof been forgotten.

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Efforts like the nonprofits Advancing Women Artists and AWARE: Archives of Women Artists, Research and Exhibitions are putting changeable artists aback into the spotlight. AWA has adequate added than 60 paintings by about 20 altered women painters from the Renaissance up to the 20th century. AWARE, meanwhile, has created an basis of 20th-century changeable artists and their assignment so that advice about them can be bound accessed and put into a greater actual context.

AWARE co-founder Camille Morineau says she sees signs of advance in the growing absorption of art collectors, building directors, and the broader accessible in changeable artists, decidedly the newer bearing which is abundant added acquainted of questions of gender.

Basel, Switzerland; and Rome

For centuries they were boarded to actual oblivion, their paintings and assets squirreled abroad in arenaceous repositories.

But now, long-forgotten women masters are actuality fatigued out of the caliginosity by a committed bandage of art experts and enthusiasts. In Italy, France, and Britain, changeable artists are demography centermost date as allotment of a broader advance to adjust the gender alterity in art history.

“We’re accomplishment history centimeter by centimeter,” says Rossella Lari as she applies acrylic from a minute besom assimilate damaged genitalia of a 22-foot-wide canvas. The restorer has spent the aftermost brace of years in a easygoing flat abreast the medieval walls of Florence bringing aback to activity “The Aftermost Supper,” a painting by a 16th-century Dominican nun called Plautilla Nelli.

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The apology of this masterpiece – the alone accepted Renaissance arrangement of the acclaimed New Testament arena by a changeable artisan – marks the best aggressive activity to date undertaken by the nonprofit Advancing Women Artists (AWA). It will be placed on abiding affectation at the Santa Maria Novella Building in Florence this fall.

“I’ve absolved abounding kilometers aback and alternating in advanced of this painting,” says Ms. Lari. “If I footfall aback and attending at it, it gives me a headache, it’s such a big challenge. But I’m blessed to be in Nelli’s attendance every day.”

AWA was accustomed in 2009 by an American philanthropist, Jane Fortune, nicknamed “Indiana Jane” by one arts annual for her audacious apprehension of absent treasures. She died last year, but her crimson has been taken up by her longtime collaborator, Linda Falcone.

Ms. Falcone says the women artists of the Renaissance represent “a hidden folio in history.” Changeable artists of the Renaissance faced abundant challenges; they had no acknowledged continuing of their own, they could not accompany guilds, and they could not alternation as artists.

AWA has adequate added than 60 paintings by about 20 altered women painters from that aeon up to the 20th century. Amid them are Violante Siries Cerroti, who corrective for the Medicis, and Artemisia Gentileschi, who was the aboriginal changeable affiliate of Florence’s Accademia delle Arti del Disegno, Europe’s ancient cartoon academy. Admitting the ample success enjoyed during their lives, these women artists were abundantly abandoned in after centuries, eclipsed by the macho aesthetic geniuses of Italy’s Renaissance era.

It is not aloof the changeable masters of Renaissance Florence who accept been overlooked. London’s Civic Portrait Gallery is presenting this year the aboriginal above exhibition to focus on the undercredited women of the Pre-Raphaelites circle, a abolitionist aesthetic movement that was built-in in 1848 England amidst accumulation industrialization. The affectation devotes accurate absorption to key muses, models, and artists, including Evelyn de Morgan, Effie Grey (Lady Millais), and Joanna Wells.

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For too continued the Pre-Raphaelite movement has been apparent as a movement of “fired up, adult adolescent men,” says babysitter Jan Marsh. “In fact, the accomplished movement was affectionate and affable to women.” Elizabeth Siddal, the archetypal of John Everett Milliais’s acclaimed “Ophelia,” will be presented for the aboriginal time as an artisan in her own appropriate in the Pre-Raphaelite Sisters exhibit.

“One of the problems with women artists is that they are actual bashful in their aspirations,” says Dr. Marsh. “They consistently get obscured.”

Meanwhile, the Tate Britain will be highlighting women’s addition to key moments in the history of British art back 1960 in its chargeless affectation Sixty Years. Assistant babysitter Sofia Karamani stresses the accent of assuming that “art history can be told by women artists only, admitting the longstanding belief on macho artists.”

In the ambience of British art, she credibility to women artists who accept assuredly appear to bulge in their chief years, amid them Rose Wylie and Phyllida Barlow. The affectation additionally showcases the assignment of adolescent bearing artists like Charlotte Prodger, Lynette Yiadom-Boakye, and Lindsay Seers who use a ambit of media and technologies to accouterment abreast issues like identity, homosexuality, and brainy health.

The appetite to actuate how abounding women artists are ambuscade in the caliginosity of art history – and ensure changeable artists are not disregarded today – accumulating Paris-based Camille Morineau to actualize AWARE: Archives of Women Artists, Research and Exhibitions in 2014.

The abstraction took appearance several years beforehand back she did the blind for “elles@centrepompidou,” an exhibition committed alone to 20th- and 21st-century changeable artists in the accumulating of France’s civic beat art museum, Centre Pompidou. “We actually pushed abroad men artists from the abiding collection,” she recalls. It brought to ablaze 350 works of 150 changeable artists, bushing added than 86,000 aboveboard feet.

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Ms. Morineau accomplished again how little advice there was on women artists, alike on those who accept been accustomed as active armament in the avant-garde.

“It was alert added assignment to address about these artists, to adapt the narrative, to actualize the theories or bookish context,” she says. “That acquaintance showed me that the abridgement of advice was acute to explain the absence of changeable artists from museums, galleries, art collections. Because alike if you’re interested, there’s no way you can acquisition a woman artisan on a specific accountable or alike if you appetite to appearance a aeon or a technique.”

AWARE addendum it took 50 years for the spotlight to about-face from the works of Robert Delaunay to his Ukrainian-born wife, Sonia, an appropriately important artistic force abaft France’s Orphism art movement, a bright adjunct of cubism. Ms. Delaunay fabricated history as the aboriginal active changeable artisan to accept a attendant exhibition at the Louvre in 1964. French-American Louise Bourgeoise was 96 by the time the Centre Pompidou put calm a attendant of her work. She helped animate the feminist art movement of the 1970s.

The 21st aeon paints a brighter account of progress, but the gender gap remains. Between 2007 and 2017, beneath than a fifth of abandoned exhibitions were adherent to women artists at New York’s MoMA. The numbers are hardly bigger beyond the Atlantic: beneath than 20 percent at Centre Pompidou and a bit added at Tate Beat in London, according to 2015 statistics appear in ARTnews.

Morineau sees signs of advance in the growing absorption of art collectors, building directors, and the broader accessible in changeable artists, decidedly the newer bearing which is abundant added acquainted of questions of gender. She is aloof accomplished showcasing the assignment of transvestite artist Grayson Perry at The Monnaie de Paris, area she is the administrator of exhibitions.

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Asked who her admired changeable artisan is, Morineau finds it absurd to achieve on aloof one.

“That’s the botheration – or the adorableness of it, or the scandal,” she says. “It is not like a few hundred…. It’s a few thousand that accept been absolutely missed.”

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