Illuminating Women Artists: Renaissance and Baroque
Andrea Pearson, American University, Washington, D.C.
Marilyn Dunn, Loyola University Chicago
Research of the past five decades has transformed our understanding of early modern women artists. The earliest studies aimed to disrupt the masculinist canon by writing women into the history of art. This interventionist objective quickly broadened, however, as scholars staked out new areas of inquiry inspired by compelling questions of the present that were no less urgent in the past: among these areas of investigation are identity, agency, and intersectionality. Books in the series “Illuminating Women Artists: Renaissance and Baroque,” published by Getty Publications in Los Angeles and Lund Humphries in London, take stock of this research to offer state-of-the-question analyses of their subjects. The volumes variously interweave established conclusions with new discoveries investigated through emerging modes of analysis to reframe the ways in which early modern women’s artistic production is approached and understood. Lavishly illustrated, collectively the books offer an unprecedented visual contextualization of the lives and works of these artists, to whom in some cases a monograph had yet to be dedicated.
Volumes anticipated beginning in 2021
Luisa Roldan by Catherine Hall-van den Elsen
Artemisia Gentileschi by Sheila Barker
Barbara Longhi by Liana Cheney
Plautilla Nelli by Catherine Turrill Lupi
Rachel Ruysch by Marianne Berardi
Judith Leyster by Frima Fox Hofrichter
International Advisory Board
Sheila Barker, Medici Archive Project, Florence; Marietta Camberari, Boston Museum of Fine Arts; Stephanie Dickey, Queen’s University, Ontario; Dagmar Eichberger, University of Heidelberg; Vera Fortunati, University of Bologna; Mary Garrard, American University, Washington, D.C.; Helen Hills, University of York; Jesse Locker, Portland State University; Katlijne van der Stighelen, Katholieke Universiteit Leuven; Claudio Strinati, State Museums of Rome; Virginia Treanor, National Museum of Women in the Arts; Evelyn Welch, King’s College London