End Notes
Forgotten Women Artists: #1 Arcangela Paladini
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[1] Named after its architect Giorgio Vasari.
[2] See generally Cristina Romeo https://www.visitflorence.com/florence-museums/the-vasari-corridor.html
[3] At date of writing (September 2017), the Corridor was closed. It is due to be reopened in 2018.
[4] Jane Fortune with Linda Falcone, Invisible Women: Forgotten Artists of Florence, The Florentine Press, 2009 at 64-5.
[5] 1599-1622. Her name is also spelled “Arcangiola Palladini”. I am indebted to Germaine Greer’s book The Obstacle Race (Picador, London, 1979, p 71-2) for alerting me to Arcangela’s story.
[6] Filippo Paladini.
[7] Julia K Dabbs (ed), Life Stories of Women Artists 1550-1800: An Anthology, Routledge, 2016, article by Francesco Moücke at 302ff.
[8] She is also recorded as later being a student of Jacopo Ligozzi.
[9] Lisa Goldenberg Stoppato, entry for Arcangela Paladini, Dizionario Biografico, http://www.treccani.it/enciclopedia/arcangela-paladini_(Dizionario-Biografico). Accessed August 2017.
[10] Dabbs, op cit.
[11] From about 1610 to 1616.
[12] Stoppato, op cit.
[13] Barbara Russano Hanning, “From Saint to Muse: Representations of Saint Cecilia in Florence,” Music in Art: International Journal for Music Iconography 29, no.1 (2004): 98; Fortune, op cit; Sarah E Pyle, “Interdisciplinary Approaches to Musical Portraiture of the Late Renaissance and Early Baroque: Reading Musical Portraits as Gendered Dialogues”, Thesis, December 2014 https://scholarsbank.uoregon.edu/xmlui/bitstream/handle/1794/18742/Pyle_oregon_0171N_11183.pdf. The painting has also been attributed to Artemisia’s father Orazio; see review of authorities in R Ward Bissell, Artemisia Gentileschi and the Authority of Art: Critical Reading and Catalogue Raissoné, Pennsylvania State University Press, 1999 at 335-337.
[14] Dabbs, op cit.
[15] Maria Giovanna Masera, “Some Unpublished Letters by Francesca Caccini”", in The Music Review, XIII (1940), at 180.
[16] Pyle, op cit at 27; Hanning, op cit; Stoppato, op cit.
[17] Stoppato, op cit.
[18] The Church is at Piazza di Santa Felicita, Oltrano, Florence. The tomb is on the left in the loggia.
[19] Stoppato, op cit.
[20] By Alberto Macchi.
© Philip McCouat 2017. First published September 2017.
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[1] Named after its architect Giorgio Vasari.
[2] See generally Cristina Romeo https://www.visitflorence.com/florence-museums/the-vasari-corridor.html
[3] At date of writing (September 2017), the Corridor was closed. It is due to be reopened in 2018.
[4] Jane Fortune with Linda Falcone, Invisible Women: Forgotten Artists of Florence, The Florentine Press, 2009 at 64-5.
[5] 1599-1622. Her name is also spelled “Arcangiola Palladini”. I am indebted to Germaine Greer’s book The Obstacle Race (Picador, London, 1979, p 71-2) for alerting me to Arcangela’s story.
[6] Filippo Paladini.
[7] Julia K Dabbs (ed), Life Stories of Women Artists 1550-1800: An Anthology, Routledge, 2016, article by Francesco Moücke at 302ff.
[8] She is also recorded as later being a student of Jacopo Ligozzi.
[9] Lisa Goldenberg Stoppato, entry for Arcangela Paladini, Dizionario Biografico, http://www.treccani.it/enciclopedia/arcangela-paladini_(Dizionario-Biografico). Accessed August 2017.
[10] Dabbs, op cit.
[11] From about 1610 to 1616.
[12] Stoppato, op cit.
[13] Barbara Russano Hanning, “From Saint to Muse: Representations of Saint Cecilia in Florence,” Music in Art: International Journal for Music Iconography 29, no.1 (2004): 98; Fortune, op cit; Sarah E Pyle, “Interdisciplinary Approaches to Musical Portraiture of the Late Renaissance and Early Baroque: Reading Musical Portraits as Gendered Dialogues”, Thesis, December 2014 https://scholarsbank.uoregon.edu/xmlui/bitstream/handle/1794/18742/Pyle_oregon_0171N_11183.pdf. The painting has also been attributed to Artemisia’s father Orazio; see review of authorities in R Ward Bissell, Artemisia Gentileschi and the Authority of Art: Critical Reading and Catalogue Raissoné, Pennsylvania State University Press, 1999 at 335-337.
[14] Dabbs, op cit.
[15] Maria Giovanna Masera, “Some Unpublished Letters by Francesca Caccini”", in The Music Review, XIII (1940), at 180.
[16] Pyle, op cit at 27; Hanning, op cit; Stoppato, op cit.
[17] Stoppato, op cit.
[18] The Church is at Piazza di Santa Felicita, Oltrano, Florence. The tomb is on the left in the loggia.
[19] Stoppato, op cit.
[20] By Alberto Macchi.
© Philip McCouat 2017. First published September 2017.
Return to Home