Books by Adelina Modesti
Launch of my book, Elisabetta Sirani, at the Pinacoteca Capitolina, Rome, 14 November 2023, at 5 ... more Launch of my book, Elisabetta Sirani, at the Pinacoteca Capitolina, Rome, 14 November 2023, at 5 pm, in the Sala Pietro da Cortona. I thank Consuelo Lollobrigida, Adriana Capriotti and Ilaria Miarelli Mariani for this opportunity to present my work.
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Elisabetta Sirani
New discount code for Elisabetta Sirani, Lund Humphries, London, 2023
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Elisabetta Sirani, 2023
Elisabetta Sirani, 2023 monograph by Adelina Modesti, published by Lund Humphries and Getty Publi... more Elisabetta Sirani, 2023 monograph by Adelina Modesti, published by Lund Humphries and Getty Publications
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Histara Les comptes rendus, 2018
published online 30 October 2018
Link: http://histara.sorbonne.fr/cr.php?cr=2495
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"Introduction: What is True About Artemisia?" by Sheila Barker;
"Identifying Artemisia: The Ar... more "Introduction: What is True About Artemisia?" by Sheila Barker;
"Identifying Artemisia: The Archive and the Eye" by Mary D. Garrard;
"Mary Magdalene in Ecstasy and the Madonna of the Svezzamento: Two Masterpieces by Artemisia" by Gianni Papi
"Deciphering Artemisia: Three New Narratives and How They Expand our Understanding" by Judith W. Mann
"Unknown Paintings by Artemisia in Naples, and New Points Regarding Her Daily Life and Bottega" by Riccardo Lattuada
"Artemisia Gentileschi’s Susanna and the Elders (1610) in the Context of Counter-Reformation Rome" by Patricia Simons
"Artemisia’s Money: A Woman Artist’s Financial Strategies in Seventeenth-Century Florence" by Sheila Barker
"Artemisia Gentileschi: The Literary Formation of an Unlearned Artist" by Jesse Locker
"Women Artists in Casa Barberini: Plautilla Bricci, Maddalena Corvini, Artemisia Gentileschi, Anna Maria Vaiani, and Virginia da Vezzo" by Consuelo Lollobrigida
"‘Il Pennello Virile’: Elisabetta Sirani and Artemisia Gentileschi as Masculinized Painters?" by Adelina Modesti
"Allegories of Inclination and Imitation at the Casa Buonarroti" by Laura Camille Agoston
"Mary Magdalene in Ecstasy by Artemisia Gentileschi. A Technical Study" by Christina Currie, Livia Depuydt, Valentine Henderiks, Steven Saverwyns, and Ina Vanden Berghe
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Introduction (Sheila Barker); Chapter 1 "‘Più che famose’:
Some Thoughts on Women Artists in Ear... more Introduction (Sheila Barker); Chapter 1 "‘Più che famose’:
Some Thoughts on Women Artists in Early Modern Europe" (Sheila ffolliott); Chapter 2 "Sofonisba Anguissola at the Court of Philip II" (Cecilia Gamberini); Chapter 3 "Sofonisba Anguissola, ‘Pittora de Natura’:
A Page from Van Dyck’s Italian Sketchbook" (Barbara Tramelli); Chapter 4 "Lucrezia Quistelli (1541–94), a Woman Artist in Vasari’s Florence" (Sheila Barker); Chapter 5 "Arcangela Paladini and the Medici" (Lisa Goldenberg Stoppato); Chapter 6 "Costanza Francini:
A Painter in the Shadow of Artemisia Gentileschi" (Julia Vicioso); Chapter 7 "The Medici’s First Woman Court Artist:
The Life and Career of Camilla Guerrieri Nati" (Eve Straussman-Pflanzer); Chapter 8 "A Newly Discovered Late Work by Artemisia Gentileschi:
Susanna and the Elders of 1652" (Adelina Modesti); Chapter 9 "Female Painters and Cosimo III de’ Medici’s Art Collecting Project" (Roberta Piccinelli); Chapter 10 "The English Collectors of Italy’s Female Old Masters, 1700–1824" (Nicole Escobedo)
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Review by Catherine Puglisi of Elisabetta Sirani 'Virtuosa'
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Review by Patricia Rocco
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Review by Sheila Barker
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Revised edition of co-authored art history text book (Victorian Certificate of Education and low... more Revised edition of co-authored art history text book (Victorian Certificate of Education and lower level university) first published in 1988: I contributed five chapters on Australian Art (Chs.13-17: “Introduction”, “Beginnings: Pioneer Art”, “The Heidelberg School”, “Modernism”, “Modernism and the Australian Women Artist”).
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Brepols, Late Medieval and Early Modern Studies (LMEMS 22)
A. Modesti
Elisabetta Sirani 'Virtuo... more Brepols, Late Medieval and Early Modern Studies (LMEMS 22)
A. Modesti
Elisabetta Sirani 'Virtuosa'
Women’s Cultural Production in Early Modern Bologna
XLIV+449 p., 180 b/w ill. + 32 colour ill., 216 x 280 mm, 2014
ISBN: 978-2-503-53584-5
Languages: English, Italian
Paperback
The publication is available.
Retail price: EUR 150,00 excl. tax
This publication presents the first monograph in English published on the successful Bolognese seventeenth-century artist Elisabetta Sirani (1638-1665).
This is the first monograph in English published on the successful Bolognese seventeenth-century artist Elisabetta Sirani (1638-1665). Modesti presents Sirani as a 'subject of her own genre', underlining the painter’s innovative qualities, not only in artistic terms, but also from a socio-political and historical perspective. The author’s discussion of the material context of women’s artistic production and of the Bolognese seventeenth-century cultural world evidences how Sirani epitomized a new model of 'femininity' and a new rising social genre: the single professional woman. Having been rightly admitted to an artistic, social, and cultural world historically dominated by men, Sirani was an unmarried woman who chose a productive and rewarding career over the traditional role of wife and mother. An 'ultramodern artist', deemed by her contemporaries to be extremely talented and inventive, Sirani affirmed her professional status within a mostly male world thanks to her extraordinary cultural learning and virtuoso artistic skills, as well as the clever management of her public image and success.
Being a woman was not a hindrance to Sirani, but rather a positive element: by projecting her own image and identity onto the femme fortes of ancient history, and by inviting important guests to her studio so as to observe her painting, she organized her own 'public exhibition', thus becoming both the subject and the object of her own art. Modesti underscores Sirani’s momentous role in the professionalization of Italian women’s cultural production and artistic practice at the beginning of the modern era and highlights Sirani’s role as an example for successive generations of professional women artists.
Table of Contents
Illustrations
Colour Plates
Acknowledgements
Introduction Elisabetta Sirani of Bologna: A Portrait of the Artist as a Fashionable Young Woman
PART I CONTEXT: Elisabetta Sirani and Her World: Matronage, Gendered Knowledge, and Female Literacy in Early Modern Bologna
Chapter 1 The Illustrious Women of Bologna: Elisabetta Sirani Exemplum
Chapter 2 Public Life, Women’s Patronage, and Female Education in Post-Tridentine Bologna
Chapter 3 Elisabetta Sirani ‘Maestra perfetta’: Education, Cultural Formation, and Teaching
PART II PROFESSIONAL LIFE: Theory and Practice
Chapter 4 In her Father’s Workshop: Elisabetta Sirani’s Artistic Formation and Training
Chapter 5 The Virile Woman: Female Power and Wisdom in Elisabetta Sirani’s Representations of Heroic Women
Chapter 6 The Phallic Paintbrush: Gender and Genius in the Art of Elisabetta Sirani
Epilogue In Memoriam
PART III CATALOGUE
Bibliography
Index
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Papers by Adelina Modesti
This thesis was scanned from the print manuscript for digital preservation and is copyright the a... more This thesis was scanned from the print manuscript for digital preservation and is copyright the author. Researchers can access this thesis by asking their local university, institution or public library to make a request on their behalf. Monash staff and postgraduate students can use the link in the References field.
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Routledge, Mar 23, 2016
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Renaissance Quarterly, 2012
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Books by Adelina Modesti
"Identifying Artemisia: The Archive and the Eye" by Mary D. Garrard;
"Mary Magdalene in Ecstasy and the Madonna of the Svezzamento: Two Masterpieces by Artemisia" by Gianni Papi
"Deciphering Artemisia: Three New Narratives and How They Expand our Understanding" by Judith W. Mann
"Unknown Paintings by Artemisia in Naples, and New Points Regarding Her Daily Life and Bottega" by Riccardo Lattuada
"Artemisia Gentileschi’s Susanna and the Elders (1610) in the Context of Counter-Reformation Rome" by Patricia Simons
"Artemisia’s Money: A Woman Artist’s Financial Strategies in Seventeenth-Century Florence" by Sheila Barker
"Artemisia Gentileschi: The Literary Formation of an Unlearned Artist" by Jesse Locker
"Women Artists in Casa Barberini: Plautilla Bricci, Maddalena Corvini, Artemisia Gentileschi, Anna Maria Vaiani, and Virginia da Vezzo" by Consuelo Lollobrigida
"‘Il Pennello Virile’: Elisabetta Sirani and Artemisia Gentileschi as Masculinized Painters?" by Adelina Modesti
"Allegories of Inclination and Imitation at the Casa Buonarroti" by Laura Camille Agoston
"Mary Magdalene in Ecstasy by Artemisia Gentileschi. A Technical Study" by Christina Currie, Livia Depuydt, Valentine Henderiks, Steven Saverwyns, and Ina Vanden Berghe
Some Thoughts on Women Artists in Early Modern Europe" (Sheila ffolliott); Chapter 2 "Sofonisba Anguissola at the Court of Philip II" (Cecilia Gamberini); Chapter 3 "Sofonisba Anguissola, ‘Pittora de Natura’:
A Page from Van Dyck’s Italian Sketchbook" (Barbara Tramelli); Chapter 4 "Lucrezia Quistelli (1541–94), a Woman Artist in Vasari’s Florence" (Sheila Barker); Chapter 5 "Arcangela Paladini and the Medici" (Lisa Goldenberg Stoppato); Chapter 6 "Costanza Francini:
A Painter in the Shadow of Artemisia Gentileschi" (Julia Vicioso); Chapter 7 "The Medici’s First Woman Court Artist:
The Life and Career of Camilla Guerrieri Nati" (Eve Straussman-Pflanzer); Chapter 8 "A Newly Discovered Late Work by Artemisia Gentileschi:
Susanna and the Elders of 1652" (Adelina Modesti); Chapter 9 "Female Painters and Cosimo III de’ Medici’s Art Collecting Project" (Roberta Piccinelli); Chapter 10 "The English Collectors of Italy’s Female Old Masters, 1700–1824" (Nicole Escobedo)
A. Modesti
Elisabetta Sirani 'Virtuosa'
Women’s Cultural Production in Early Modern Bologna
XLIV+449 p., 180 b/w ill. + 32 colour ill., 216 x 280 mm, 2014
ISBN: 978-2-503-53584-5
Languages: English, Italian
Paperback
The publication is available.
Retail price: EUR 150,00 excl. tax
This publication presents the first monograph in English published on the successful Bolognese seventeenth-century artist Elisabetta Sirani (1638-1665).
This is the first monograph in English published on the successful Bolognese seventeenth-century artist Elisabetta Sirani (1638-1665). Modesti presents Sirani as a 'subject of her own genre', underlining the painter’s innovative qualities, not only in artistic terms, but also from a socio-political and historical perspective. The author’s discussion of the material context of women’s artistic production and of the Bolognese seventeenth-century cultural world evidences how Sirani epitomized a new model of 'femininity' and a new rising social genre: the single professional woman. Having been rightly admitted to an artistic, social, and cultural world historically dominated by men, Sirani was an unmarried woman who chose a productive and rewarding career over the traditional role of wife and mother. An 'ultramodern artist', deemed by her contemporaries to be extremely talented and inventive, Sirani affirmed her professional status within a mostly male world thanks to her extraordinary cultural learning and virtuoso artistic skills, as well as the clever management of her public image and success.
Being a woman was not a hindrance to Sirani, but rather a positive element: by projecting her own image and identity onto the femme fortes of ancient history, and by inviting important guests to her studio so as to observe her painting, she organized her own 'public exhibition', thus becoming both the subject and the object of her own art. Modesti underscores Sirani’s momentous role in the professionalization of Italian women’s cultural production and artistic practice at the beginning of the modern era and highlights Sirani’s role as an example for successive generations of professional women artists.
Table of Contents
Illustrations
Colour Plates
Acknowledgements
Introduction Elisabetta Sirani of Bologna: A Portrait of the Artist as a Fashionable Young Woman
PART I CONTEXT: Elisabetta Sirani and Her World: Matronage, Gendered Knowledge, and Female Literacy in Early Modern Bologna
Chapter 1 The Illustrious Women of Bologna: Elisabetta Sirani Exemplum
Chapter 2 Public Life, Women’s Patronage, and Female Education in Post-Tridentine Bologna
Chapter 3 Elisabetta Sirani ‘Maestra perfetta’: Education, Cultural Formation, and Teaching
PART II PROFESSIONAL LIFE: Theory and Practice
Chapter 4 In her Father’s Workshop: Elisabetta Sirani’s Artistic Formation and Training
Chapter 5 The Virile Woman: Female Power and Wisdom in Elisabetta Sirani’s Representations of Heroic Women
Chapter 6 The Phallic Paintbrush: Gender and Genius in the Art of Elisabetta Sirani
Epilogue In Memoriam
PART III CATALOGUE
Bibliography
Index
Papers by Adelina Modesti
"Identifying Artemisia: The Archive and the Eye" by Mary D. Garrard;
"Mary Magdalene in Ecstasy and the Madonna of the Svezzamento: Two Masterpieces by Artemisia" by Gianni Papi
"Deciphering Artemisia: Three New Narratives and How They Expand our Understanding" by Judith W. Mann
"Unknown Paintings by Artemisia in Naples, and New Points Regarding Her Daily Life and Bottega" by Riccardo Lattuada
"Artemisia Gentileschi’s Susanna and the Elders (1610) in the Context of Counter-Reformation Rome" by Patricia Simons
"Artemisia’s Money: A Woman Artist’s Financial Strategies in Seventeenth-Century Florence" by Sheila Barker
"Artemisia Gentileschi: The Literary Formation of an Unlearned Artist" by Jesse Locker
"Women Artists in Casa Barberini: Plautilla Bricci, Maddalena Corvini, Artemisia Gentileschi, Anna Maria Vaiani, and Virginia da Vezzo" by Consuelo Lollobrigida
"‘Il Pennello Virile’: Elisabetta Sirani and Artemisia Gentileschi as Masculinized Painters?" by Adelina Modesti
"Allegories of Inclination and Imitation at the Casa Buonarroti" by Laura Camille Agoston
"Mary Magdalene in Ecstasy by Artemisia Gentileschi. A Technical Study" by Christina Currie, Livia Depuydt, Valentine Henderiks, Steven Saverwyns, and Ina Vanden Berghe
Some Thoughts on Women Artists in Early Modern Europe" (Sheila ffolliott); Chapter 2 "Sofonisba Anguissola at the Court of Philip II" (Cecilia Gamberini); Chapter 3 "Sofonisba Anguissola, ‘Pittora de Natura’:
A Page from Van Dyck’s Italian Sketchbook" (Barbara Tramelli); Chapter 4 "Lucrezia Quistelli (1541–94), a Woman Artist in Vasari’s Florence" (Sheila Barker); Chapter 5 "Arcangela Paladini and the Medici" (Lisa Goldenberg Stoppato); Chapter 6 "Costanza Francini:
A Painter in the Shadow of Artemisia Gentileschi" (Julia Vicioso); Chapter 7 "The Medici’s First Woman Court Artist:
The Life and Career of Camilla Guerrieri Nati" (Eve Straussman-Pflanzer); Chapter 8 "A Newly Discovered Late Work by Artemisia Gentileschi:
Susanna and the Elders of 1652" (Adelina Modesti); Chapter 9 "Female Painters and Cosimo III de’ Medici’s Art Collecting Project" (Roberta Piccinelli); Chapter 10 "The English Collectors of Italy’s Female Old Masters, 1700–1824" (Nicole Escobedo)
A. Modesti
Elisabetta Sirani 'Virtuosa'
Women’s Cultural Production in Early Modern Bologna
XLIV+449 p., 180 b/w ill. + 32 colour ill., 216 x 280 mm, 2014
ISBN: 978-2-503-53584-5
Languages: English, Italian
Paperback
The publication is available.
Retail price: EUR 150,00 excl. tax
This publication presents the first monograph in English published on the successful Bolognese seventeenth-century artist Elisabetta Sirani (1638-1665).
This is the first monograph in English published on the successful Bolognese seventeenth-century artist Elisabetta Sirani (1638-1665). Modesti presents Sirani as a 'subject of her own genre', underlining the painter’s innovative qualities, not only in artistic terms, but also from a socio-political and historical perspective. The author’s discussion of the material context of women’s artistic production and of the Bolognese seventeenth-century cultural world evidences how Sirani epitomized a new model of 'femininity' and a new rising social genre: the single professional woman. Having been rightly admitted to an artistic, social, and cultural world historically dominated by men, Sirani was an unmarried woman who chose a productive and rewarding career over the traditional role of wife and mother. An 'ultramodern artist', deemed by her contemporaries to be extremely talented and inventive, Sirani affirmed her professional status within a mostly male world thanks to her extraordinary cultural learning and virtuoso artistic skills, as well as the clever management of her public image and success.
Being a woman was not a hindrance to Sirani, but rather a positive element: by projecting her own image and identity onto the femme fortes of ancient history, and by inviting important guests to her studio so as to observe her painting, she organized her own 'public exhibition', thus becoming both the subject and the object of her own art. Modesti underscores Sirani’s momentous role in the professionalization of Italian women’s cultural production and artistic practice at the beginning of the modern era and highlights Sirani’s role as an example for successive generations of professional women artists.
Table of Contents
Illustrations
Colour Plates
Acknowledgements
Introduction Elisabetta Sirani of Bologna: A Portrait of the Artist as a Fashionable Young Woman
PART I CONTEXT: Elisabetta Sirani and Her World: Matronage, Gendered Knowledge, and Female Literacy in Early Modern Bologna
Chapter 1 The Illustrious Women of Bologna: Elisabetta Sirani Exemplum
Chapter 2 Public Life, Women’s Patronage, and Female Education in Post-Tridentine Bologna
Chapter 3 Elisabetta Sirani ‘Maestra perfetta’: Education, Cultural Formation, and Teaching
PART II PROFESSIONAL LIFE: Theory and Practice
Chapter 4 In her Father’s Workshop: Elisabetta Sirani’s Artistic Formation and Training
Chapter 5 The Virile Woman: Female Power and Wisdom in Elisabetta Sirani’s Representations of Heroic Women
Chapter 6 The Phallic Paintbrush: Gender and Genius in the Art of Elisabetta Sirani
Epilogue In Memoriam
PART III CATALOGUE
Bibliography
Index
in Les Dames du Baroque, exhibition held at MSK (Museum voor Schone Kunsten), Ghent, Belgium, 19 October 2018-20 January 2019
Annual International Women in Arts Conference,
University of Arkansas, Palazzo Taverna, Rome
20-22 October, 2021
Published paper from the Società Italiana delle Storiche inaugural international conference, Dipartmento di Discipline Storiche, Università degli Studi di Bologna, Rimini 8-10 June, 1995.