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The women artists in this exhibition were successful by every measure.Financially, they were breadwinners for their families or religious orders.He circulated her work among well-connected people – including Michelangelo, who commented on the girl’s fine talent – and landed a position for his daughter in the Spanish court as lady-in-waiting and painting instructor to Queen Isabella.Lavinia Fontana and Artemisia Gentileschi learned to paint from their artist fathers, no doubt by assisting them in grinding paints, preparing canvases, and completing backgrounds of paintings.Any discussion on the history of women in the arts begins with a specific quartet of Italian women artists: Sofonisba Anguissola, Lavinia Fontana (1552-1614), Artemisia Gentileschi (1593-1654), and Elisabetta Sirani (1638-1665).

Their eventual successes lay in their ability to satisfy the demands of their patrons and the societies in which they painted.

is the first comparative exhibition of paintings, prints, and drawings by women artists of the ‘early modern’ period, which roughly spans the fifteenth through the mid-eighteenth centuries.

In recent decades, scholars have untangled, reassessed, and pieced together the histories and oeuvres of these artists.

As is true of many paintings created by monks and nuns to inspire and instruct other members of their religious circles, it is only relatively recently that these devotional works have become known, as monasteries and convents have opened their doors to scholars and the public.

One of Nelli’s few remaining identifiable works, a large-scale painting on wood, , c.

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Vasari’s commentary on Properzia, whom he described as very beautiful and with an imaginative and agile intellect, opens with the following paean to women artists: ‘It is an extraordinary thing that in all those arts and all those exercises wherein at any time women have thought fit to play a part in real earnest, they have always become most excellent and famous in no common way, as one might easily demonstrate by an endless number of examples.’ Vasari lists praiseworthy women poets and warriors from classical antiquity before embarking on his discussion of Properzia’s talent, her meteoric rise, and some of her patrons.

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