Winter 2023

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Above: Artemisia Gentileschi’s Allegory of Inclination, after restoration, Casa Buonarroti Museum, ph. O. Caruso; Digital reconstruction via scientific research, ph M. Chimenti and Culturanuova, from a photo by O. Caruso 48 Restoration Conversations • Winter 2023
The Big Reveal Florence exhibition Artemisia in the Museum of Michelangelo Artemisia’s nude Allegory of Inclination was revealed after a year-long restoration, in the show Artemisia in the Museum of Michelangelo at Florence’s Casa Buonarroti. This international endeavour was designed to spotlight the painter’s prolific Florentine period and the iconic women-on-canvas that gave Artemisia her start. A 400-year-old fingerprint, a newly visible bellybutton, the original contours of Artemisia Gentileschi’s censored painting… and more. A VIRTUAL QUEST TO UNCOVER ARTEMISIA’S ORIGINAL Artemisia Gentileschi’s Allegory of Inclination, the keynote artwork at the conservationbased exhibition Artemisia in the Museum of Michelangelo (27 September to 8 January 2024) held at Casa Buonarroti in Florence, Italy – was rendered more beguiling by the censoring of the original nude allegorical figure, nearly 50 years after she painted it, by order of Leonardo Buonarroti a descendent of Michelangelo. The addition of heavy swirling veils to cover the nudity was intended to preserve the modesty of the female inhabitants of the house. “The possibility of ‘unveiling’ this figure virtually, revealing the image originally painted by Artemisia turned an ‘ordinary’ restoration into a quest to discover the woman behind the veils,” explains Wayne McArdle, co-founder of the project’s co-sponsor Calliope Arts, in partnership with English art collector and philanthropist Christian Levett. THE BIG QUESTION Why remove the veils virtually, not physically? “The Artemisia UpClose project – which brought together Italian, American, Canadian and British philanthropists, curators, and conservation experts – was conceived knowing that the censoring cover-up would not be removed for two reasons,” explains head conservator Winter 2023 • Restoration Conversations 49
Page 1 and 2: Restoration Conversations ISSUE 4,
Page 3 and 4: From the Editor Today’s women, fe
Page 5 and 6: CONTENTS WINTER 2023 MUSIC AND A VO
Page 7 and 8: Richard agreed to come to her next
Page 9 and 10: From left to right: Top row: Fanny
Page 11 and 12: Left: Winnaretta Singer’s selfpor
Page 13 and 14: organic process to the way we found
Page 15 and 16: The Words We’d Like to Meet Schol
Page 17 and 18: From your description, Smedley’s
Page 19 and 20: and songs for suffrage. Perkins Gil
Page 21 and 22: In explaining how Price went from r
Page 23 and 24: Mendelssohn, was the centrepiece of
Page 25 and 26: “You oughta be in pictures” Ban
Page 27 and 28: Opposite page: Maryla Lednicka-Szcz
Page 29 and 30: Not far away, is another matronly f
Page 31 and 32: Above and right: Woman Sitting on t
Page 33 and 34: What does Eleonora Toledo, a Spanis
Page 35 and 36: Fotografico Il Cupolone, whereby th
Page 37 and 38: Like many women artists of centurie
Page 39 and 40: up’ their sitters, so to speak, w
Page 41 and 42: Opposite page: Trieste: Yugoslavian
Page 43 and 44: Above: A Maria Luisa Raggi tempera
Page 45 and 46: of them young women, with wise hand
Page 47: Their extreme reactivity is culprit
Page 51 and 52: four centuries ago, the restoration
Page 53 and 54: Above: The Gallery ceiling at Casa
Page 55 and 56: Winter 2023 • Restoration Convers
Page 57 and 58: Left: Buonarroti the Younger’s ac
Page 59 and 60: Opposite page: ‘Artemisia UpClose
Page 61 and 62: Opposite page: A happy group of fri
Page 63 and 64: Trailblazer, Rule Breaker Lavinia F
Page 65 and 66: scenes happening in the background
Page 67 and 68: (see feature on p. 66) there is a l
Page 69 and 70: The Star of the Show Lavinia Fontan
Page 71 and 72: satisfaction. In one retelling it w
Page 73 and 74: COMPARISONS AND CRAFTSMANSHIP The n
Page 77 and 78: and new research can be studied and
Page 79 and 80: painters, but self-portraiture form
Page 81 and 82: Curator Sergio Risaliti speaks ‘C
Page 85 and 86: But what of her method, I ask, and
Page 87 and 88: Above: Installation shot of Paula R
Page 89 and 90: Catherine represent theological lea
Page 91 and 92: ook’s blank pages as symbolic of
Page 93 and 94: Women at Work Portraits in Words an
Page 95 and 96: Above: Mary Somerville by James Ran
Page 97 and 98: scientific advancement, it is not s
Page 99 and 100:
A day in the life... Crafters Jane
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Winter 2023

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