From Caravaggio to Giovanna Garzoni: new subjects and newly discovered careers in the arts of 17th-century southern Europe
12 January to 16 March 2021
In one part of 10 lectures; £195
This term will be led by Dr Sheila McTighe, with contributions by Dr Giulia Martina Weston and Chloe Bazlen
The ‘old masters’ of early modern European painting have been rejuvenated by new discoveries in recent years, not least by research on the careers of women in the arts. We now know more about the prominent role 16th and 17th-century women played, not only in the realm of painting and printmaking, but in literary and intellectual circles where women artists were celebrated and welcomed. In turn, that new knowledge of the intersection between artistic and learned society has helped to illuminate new subject matter in the arts. This lecture series brings together multiple novelties: new light on Caravaggio’s activities at the frontiers of Italian society; new imagery of poverty and low life in poetry, prints and paintings; new understanding of women’s use of certain media and certain subjects, as in miniature painting, still life and self-portraiture. In each of the lectures, we’ll take time to look in detail at the ways in which images were made and how they were received by the public, as the crafts of image-making were changed by the new directions taken by artists, both men and women.
Dr Sheila McTighe took her PhD at Yale University with a thesis on Nicolas Poussin and libertinage, which became the subject of her first book. She taught subsequently at Cornell and Columbia Universities before arriving at The Courtauld in 1998. Her interests then took her toward the study of 17th century naturalism and the depiction of everyday life. This in turn led to fascination with 17th-century Italian and French prints and with print culture more broadly. She enjoys being able to teach in front of works of art in London’s museum collections, and travelling with students to study paintings and prints in Paris and Rome. Her recent book, Representing from Life in Seventeenth-century Italy, was published in March 2020 by Amsterdam University Press. She is currently completing a book on 17th-century Italian and French depictions of everyday life, in prints and in paintings, also for Amsterdam University Press.
Dr. Giulia Martina Weston holds a PhD from the Courtauld Institute of Art, where she has been Associate Lecturer since 2016. She is Consultant Lecturer at Sotheby’s Institute and a member of several editorial boards.
She authored the monograph Niccolò Tornioli (1606-1651). Art and patronage in Baroque Rome (2016), and co-edited the volumes I Pittori del Dissenso (2014) and ‘A tale of two cities’: Rome and Siena in the Early Modern period (2020). She has published on various aspects of Renaissance and Early Modern art and society, exploring phenomena of secular and religious patronage in Baroque Rome, the bond between art and technology in the post-Galilean age, the production of painting in stone across Medicean Tuscany, and the market for replicas and copies in Seicento Italy. More recently, she has been questioning issues of authenticity and connoisseurship in the Early Modern period. She is currently completing a book on Salvator Rosa’s afterlife and influence in Britain.
Chloe Bazlen received her MA from The Courtauld Institute of Art in 2019, and a BA in the History of Art and English Literature from Scripps College (Claremont, CA) in 2018. At The Courtauld, Chloe studied under Dr Sheila McTighe, focusing on print culture in early modern Europe. Since completing her master’s degree, Chloe has worked in the library at the Courtauld.
Chloe’s research is focused on women printmakers in early modern Italy. Chloe examines their role within family workshops, and considers how the medium of print enabled women printmakers to create their contributions, and how the medium also obscured their contributions. Her dissertation, Laura Piranesi: Rediscovering an Artist in the Piranesi Family Workshop (2019), focused on analysing and correcting the oeuvre of Laura Piranesi, a historically overlooked and very active participant in the Piranesi family workshop, owned by her more widely recognised father Giovanni Battista Piranesi. Other research projects consider the didactic usage of printed embroidery and lace patterns by the printmaker Isabella Parasole.