![]() This is in part due to her biography, but there's also a growing awareness around women artists in general – and she's undoubtedly the most famous female painter of the Baroque era. I think Artemisia's work captured the broader public's imagination because her life story and her art evoke quite strong, personal responses from people. Letizia: Following Artemisia's (re)discovery in the 1970s, interest in her work has been gathering pace especially over the last 20 years or so. Lydia: For half a century, feminist art historians have been discussing Artemisia, but why do you think she is experiencing a resurgence of interest amongst a broader public now? I wanted it to be extremely selective, and the core of the show is made up of the best of Artemisia's signed, dated and documented works, to which I have added a few key works which are essential to the story I want to tell. I had a very clear idea of what I wanted the exhibition to include. The exhibition idea stemmed from our acquisition of Artemisia's Self Portrait as Saint Catherine of Alexandria in July 2018, which means I only had about 18 months to put the show together. ![]() ![]() Letizia Treves: I suppose there were two main challenges – the first, was the relatively short timeframe I had to work with and the other was securing the key loans which I felt were essential. Lydia Figes, Art UK: What were the initial challenges when putting together this exhibition? Self Portrait as Saint Catherine of AlexandriaĪrtemisia Gentileschi (1593–1654 or after) The National Gallery, London ![]()
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