Princesses seeking a meaningful career? Princesses coming to the US for jobs? Sound like a fairytale? In some ways, it is. From the lush, picturesque island of Casarina, seven princesses go to America to establish their careers. Calla works for Doctors Without Borders, Francesca becomes a cop, Evangelina is a neonatal nurse, Ravenna reaches fame as a modern artist, Gabriella chooses to teach in a low income school, Mariella is studying to be a lawyer and Alexandra finds success as a popular children’s author. They devote themselves to their vocations but never planned to meet Connor, Tyler, Mike, Blake, Dante, Jordan and Ryder. These men complicate their lives in the most wonderful ways. Watch their careers and their romances blossom.
"Haunting ... teems with raw emotion, and McCullough deftly captures the experience of learning to behave in a male-driven society and then breaking outside of it."—The New Yorker "I will be haunted and empowered by Artemisia Gentileschi's story for the rest of my life."—Amanda Lovelace, bestselling author of the princess saves herself in this one A William C. Morris Debut Award Finalist 2018 National Book Award Longlist Her mother died when she was twelve, and suddenly Artemisia Gentileschi had a stark choice: a life as a nun in a convent or a life grinding pigment for her father's paint. She chose paint. By the time she was seventeen, Artemisia did more than grind pigment. She was one of Rome's most talented painters, even if no one knew her name. But Rome in 1610 was a city where men took what they wanted from women, and in the aftermath of rape Artemisia faced another terrible choice: a life of silence or a life of truth, no matter the cost. He will not consume my every thought. I am a painter. I will paint. Joy McCullough's bold novel in verse is a portrait of an artist as a young woman, filled with the soaring highs of creative inspiration and the devastating setbacks of a system built to break her. McCullough weaves Artemisia's heartbreaking story with the stories of the ancient heroines, Susanna and Judith, who become not only the subjects of two of Artemisia's most famous paintings but sources of strength as she battles to paint a woman's timeless truth in the face of unspeakable and all-too-familiar violence. I will show you what a woman can do. ★"A captivating and impressive."—Booklist, starred review ★"Belongs on every YA shelf."—SLJ, starred review ★"Haunting."—Publishers Weekly, starred review ★"Luminous."—Shelf Awareness, starred review
They say some loves travel through time and are destined to meet over and over again. In the pages of Eternally Artemisia Maddie, an Art Therapist, leading Women's retreats in Tuscany, wrestles with the "peculiar feeling" that she has lived previous lives and is being called to Italy by voices from the past that have left their footprints on her soul. Following Maddie's journey to find her kindred spirits, readers will travel back to sixteenth-century Florence in a time when artists brandished a paintbrush as easily as a dagger. They will move forward in time to Rome in the 1930's and rub elbows with fashionistas and movie stars. Hinged on the real-life events of Artemisia Gentileschi's life, the first significant female artist, who in a time when it was unheard of to denounce a man for the crime of rape had done just that. Humiliated and disgraced, it was not only Artemisia's art that saved her, but also the circle of friends who surrounded and supported her and gave her the courage she needed to redefine her destiny. In her day Artemisia set a shining example, and her message is still relevant: when we dare to take control of our destinies and find the thing we are most passionate about we are limitless.
In 17th century Rome, where women are expected to be chaste and yet are viewed as prey by powerful men, the extraordinary painter Artemisia Gentileschi fends off constant sexual advances as she works to become one of the greatest painters of her generation. Frustrated by the hypocritical social mores of her day, Gentileschi releases her anguish through her paintings and, against all odds, becomes a groundbreaking artist. Meticulously rendered in ballpoint pen, this gripping graphic biography serves as an art history lesson and a coming-of-age story. Resonant in the #MeToo era, I Know What I Amhighlights a fierce artist who stood up to a shameful social status quo.
A brand new look at the extraordinary accomplishments of early modern Italian women artists This generously illustrated volume surveys a sweeping range of early modern Italian women artists, exploring their practice and paths to success within the male-dominated art world of the period. New attention to archival documents and detailed technical analyses of the beautiful paintings featured here--ranging from historical subjects to portraits and still lifes--offer new insight into the ways these women worked and their accomplishments. Essays and catalogue entries by an international team of distinguished art historians examine the works of Artemisia Gentileschi, Sofonisba Anguissola, Lavinia Fontana, Fede Galizia, Elisabetta Sirani, Giovanna Garzoni, Rosalba Carriera, and other less known Italian women artists. Through these works of art in diverse media--from paintings to prints--the fascinating stories of early modern Italian women artists are revealed.
A family struck by almost unbearable tragedy is finally able to go with their lives… BEGIN AGAIN The Ludzecky family was leveled by an unspeakable tragedy. Three years later, Paulina runs a contracting business with her twin, Antonia. And she’s ready to dip her toes in romance, especially after she meets the architect on the new next project. PRIMARY COLORS Antonia is stuck in her grief and can’t find a way out of her sorrow over the untimely death of her beloved husband. Until she meets a modern artist whose gentle demeanor and lack of arrogance attracts her. RISKY BUSINESS Magdalena is a child prodigy and career woman extraordinaire. She’s a partner in a private equity firm and is a force to be reckoned with. Her best friend is her colleague, Logan Pierce, who’s always there for her, especially when her brothers-in-law were killed. Suddenly, they find attraction growing between them. But an office romance is unthinkable. THE WAY WE WERE Ana Ludzecky had it all—a sexy husband, a beautiful daughter, her dream house and the best extended family in the world. Then, tragedy strikes their family and her life turns upside down. She makes some bad choices that eventually lead to the dissolution of her marriage to the love of her life. HANDLE WITH CARE Diagnosed with leukemia at sixteen, Sofia has been affected by more tragedy than any of her sisters. But she found the strength to help her sisters out and also take care of herself. Being a yoga teacher helps her live a calm life. Enter the athletic, boisterous Physical Education teacher who goes after her with all he’s got. LOVE STORY Elizabeta Ludzecky is two different women: one the risk-taking, hip, wild child in the Ludzecky family. And the other, a Rhodes Scholar and businesswoman who works at the Met. But there’s a problem at the museum and the undercover cop is placed there. When she sets her sights on him, his first instinct is to run in the other direction. Soon, that changes dramatically.
Historically, major women artists have been excluded from the mainstream art canon. Aligned with the resurgence of feminism in pop culture, Broad Strokes offers an entertaining corrective to that omission. Art historian Bridget Quinn delves into the lives and careers of 15 female artists from around the globe in text that's smart, feisty, educational, and an enjoyable read. Replete with beautiful reproductions of the artists' works and contemporary portraits of each artist by renowned illustrator Lisa Congdon, this is art history from the Renaissance to Abstract Expressionism for the modern art lover, reader, and feminist.
The Sister Chapel (1974-78) was an important collaborative installation that materialized at the height of the women‘s art movement. Conceived as a nonhierarchical, secular commemoration of female role models, The Sister Chapel consisted of an eighteen-foot abstract ceiling that hung above a circular arrangement of eleven monumental canvases, each depicting the standing figure of a heroic woman. The choice of subject was left entirely to the creator of each work. As a result, the paintings formed a visually cohesive group without compromising the individuality of the artists. Contemporary and historical women, deities, and conceptual figures were portrayed by distinguished New York painters-Alice Neel, May Stevens, and Sylvia Sleigh-as well as their accomplished but less prominent colleagues. Among the role models depicted were Artemisia Gentileschi, Frida Kahlo, Betty Friedan, Joan of Arc, and a female incarnation of God. Although last exhibited in 1980, The Sister Chapel has lingered in the minds of art historians who continue to note its significance as an exemplar of feminist collaboration. Based on previously-unpublished archival materials and featuring dozens of rarely-seen works of art, this comprehensive study details the fascinating history of The Sister Chapel, its constituent paintings, and its ambitious creators.
The fiftieth anniversary edition of the essay that is now recognized as the first major work of feminist art theory—published together with author Linda Nochlin’s reflections three decades later. Many scholars have called Linda Nochlin’s seminal essay on women artists the first real attempt at a feminist history of art. In her revolutionary essay, Nochlin refused to answer the question of why there had been no “great women artists” on its own corrupted terms, and instead, she dismantled the very concept of greatness, unraveling the basic assumptions that created the male-centric genius in art. With unparalleled insight and wit, Nochlin questioned the acceptance of a white male viewpoint in art history. And future freedom, as she saw it, requires women to leap into the unknown and risk demolishing the art world’s institutions in order to rebuild them anew. In this stand-alone anniversary edition, Nochlin’s essay is published alongside its reappraisal, “Thirty Years After.” Written in an era of thriving feminist theory, as well as queer theory, race, and postcolonial studies, “Thirty Years After” is a striking reflection on the emergence of a whole new canon. With reference to Joan Mitchell, Louise Bourgeois, Cindy Sherman, and many more, Nochlin diagnoses the state of women and art with unmatched precision and verve. “Why Have There Been No Great Women Artists?” has become a slogan and rallying cry that resonates across culture and society. In the 2020s, Nochlin’s message could not be more urgent: as she put it in 2015, “There is still a long way to go.”
The Gentileschi Sisters are daughters of a king, princesses who come to the U.S. to pursue their careers and fall in love with seemingly unsuitable men. Seriously? Alexandra Marcello Gentileschi thinks when she’s contacted by one of the biggest publishers in New York City. The man actually wants to buy the children’s book she wrote. She’s innocent and naïve in the ways of publishing and in the ways of the world, but she’s determined to make it on her own and not because of the Gentileschi name. She chooses instead her mother’s surname. Ryder Reynolds is using Alexandra Marcello to get what he wants out of life. Ten years older than she, and technically her boss, he regretfully finds himself enticed by the Italian beauty. But after he falls in love with her, he’s is forced to make an impossible choice that could alienate her forever. Backdropped by the splendor of an Italian island and the glamor of New York City, Ryder and Alexandra’s struggle will tug at your heartstrings and move you to root for them. Don’t miss this charming six-book series of novellas: I WILL ALWAYS LOVE YOU, THIS GUY’S IN LOVE, CAN’T HELP FALLING IN LOVE, HOW DEEP IS YOUR LOVE?, LOVE WILL KEEP US TOGETHER and I THINK I LOVE YOU!
