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Customer Review
History, Novel, or Hybrid, Very Well Done
When the Authoress learns Latin and Italian as by-products of her research, the result should be special, and in the case of Artemisia, the result is very special. I don't understand how this could have been marketed anywhere as a Biography, Ms. Lapierre is very clear prior to the start of her work, and in over 60 pages of some of the best notes I have ever read, that she made the decision to tell this as a story, not pure History. A Biography whether authorized or not, is always subject to editorial, selective use of research materials, or in the case of some writers who should write for tabloids, deliberate distortions, selective use of facts, or not understanding the difference between fact and fiction. When the notes are read, Ms. Lapierre appears to have been so diligent as to facts, sources, and suppositions; it is tempting to think of this as a Historical work.The Protagonist is an amazing study. A Genius in art who was officially affirmed as such during a time when Women...
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September 27, 2000
(Canberra, Australia) | Helpful Votes: 51 | Rating: 5
A Truly Excellent Account of a Great Artist
This book by Alexandra Lapierre on the life of the female artist, Artemisia Gentileschi, is a fascinating study of the world of art and Europe during the seventeenth Century. Having read a few books on Caravaggio I had come across the name of Artemisia but knew very little of her other than that she had been raped by another artist and later went on to become quite famous herself. This book told the story of not only Artemisia and her art but also her father, Orazio Gentileschi, and showed how artistic rivalry, love, family, honour and a passion for art interlocked their lives and careers.The book is not a novel as the title suggests but is indeed a historical biography of Artemisia Gentileschi and her times. The author has used her skills as a novelist to fill gaps in the story of Artemisia but only with the greatest sense of historical correctness. The author has carried out extensive research on her subject and has used the results of this research to help fill the...
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August 20, 2000
| Helpful Votes: 32 | Rating: 5
Product Description
An international best-seller, Alexandra Lapierre's Artemisia sweeps us through the streets once frequented by Caravaggio, Velasquez, and Van Dyck and into the studios of artists who used their daggers as efficiently as their brushes. Born in the early 1600s when artists were the celebrities of the day, Artemisia was apprenticed to her father, the artist Orazio Gentileschi, at an early age. Raped by his partner Agostino Tassi at seventeen, the Gentileschi name was dragged through scandal for Artemisia refused, even when tortured, to deny that she had been raped. Indeed, she went farther: she dared to plead her case in court. Artemisia is the story of a powerful love/hate relationship between master and pupil, father and daughter, and a talent that overturned the prejudices of the day, winning commissions from wealthy patrons, nobles, and kings. Lapierre brings Artemisia Gentileschi to vivid life as she tells of the emotional struggles of the most fascinating and controversial artist of her time. Top to learn more
Small wonder that biographer Alexandra Lapierre was drawn to write about Artemisia Gentileschi, one of the first female painters to gain acclaim in the male-dominated 17th-century art world. Her story has all the ingredients of high drama: rape, jealousy, and an infamous court trial set against a backdrop of art and passion. Meticulously researched, framed in a fictional context, Lapierre's treatment applies a painterly touch to a scholarly work. Billed as a biography in the U.K. but as a novel in the U.S., it combines the rigor of one genre with the page-turning immediacy of the other.
Born in Rome to the artist Orazio Gentileschi and his wife Prudenzia, Artemisia's life was turned upside down after the death of her mother. Orazio jealously guarded his only daughter, refusing her outside contact even as he taught her the subtleties of painting. At 17, Artemisia, already a skilled artist, was facing a life of spinsterhood as her father's prisoner. Yet the Gentileschi household was full of the comings and goings of artists whose shifting allegiances were as complex as the politics of the time. When Orazio's friend, arrogant trompe l'oeil master Agostino Tassi, set his sights on young Artemisia, her refusals only stoked his passion. What followed was rape. Tassi kept her quiet through promises of marriage; when marriage was not forthcoming, Tassi found himself in court.
Even under torture, Artemisia's statement never wavered, and eventually Tassi was convicted. The mild sentence scarcely harmed him, yet the experience had a lasting effect on his victim. Touched by scandal, Artemisia was able to marry an inferior painter only by virtue of a substantial dowry. Through an unhappy marriage, the deaths of her first children, and the lives of her daughters, however, she continued to paint, eventually gaining considerable acclaim. Interestingly enough, given her experiences, her paintings of religious allegory often portrayed women in illustrations of strength and dominance. If her depiction of Judith violently decapitating Holofernes elicited the Grand Duchess's repulsion, the Grand Duke Cosimo II was riveted. Others in the room saw the allusion to the artist's own past: "'This face, so close to death, brings someone to mind,' the secretary, Andrea Cioli, interjected insidiously. 'A painter, your Highness...'"
Artemisia blends storytelling and careful detail in a complex rendering that will particularly appeal to readers with an interest in either Baroque art or Italian history. Color plates illustrate the haunting quality of Artemisia's work, and the end notes make clear which portions derive from documentation and which are fictional strokes of color. The uninitiated may have a difficult time unraveling the intricacies of characters and politics, perhaps because Lapierre is more at home with scholarship than with fiction. Worse, her breathless prose sometimes tries too hard, even while doing little to reveal her characters' inner worlds. In the end, it's both the compelling quality of Artemisia's story and the lushness of Lapierre's supporting detail that hold this unusual book together. --Anne DeGrace Top to learn more
An exceedingly well-researched historical novel
Anyone intersted in the fascinating life and paintings of Artemisia Gentileschi will surely want to read this novel. Surpassing other novelists who have written on Artemisia (Marine Bramly, Raouda Jamis) Lapierre has turned up a lot of new facts by going back to the archives in Rome and elsewhere ,and she has extensive notes for each chapter. The English translation is rather pedestrian and it also omits the lengthy bibliography of primary and secondary sources in the original French edition (available at amazon.fr). A note at the end of the book says they are available on line, but I could not access the URL. The Enlgish translation also moves an aferword up and retitles it as a preface. Also, the English translation does not reproduce a series of paintings and drawings in the notes of the French edition. (It does reproduce the plates of several paintings in the middle, as they appear in the French edition. So if you read French, I recommend French edition. If you...
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September 2, 2000
| Helpful Votes: 22 | Rating: 4