Variations: The Reuse of Models in Paintings by Orazio and Artemisia Gentileschi
Recent conservation of the CMA’s Italian Baroque painting Danaë by Orazio Gentileschi (1563–1639) has revealed a more vibrant and refined painting than has hitherto been possible to perceive. It is an extraordinary work now conveying the artist’s trademark virtuosity in painting drapery and flesh tones. Danaë is the second version of a picture painted in Genoa around 1621–22 by Orazio, who often copied his own works; these subsequent versions can rival the original in quality.
While issues of attribution are still very much alive in several works by Orazio and his daughter Artemisia, it is clear that both artists returned to and reworked certain themes and compositions throughout their careers. In content and form, Orazio’s Danaë is a key example of this phenomenon. In the exhibition, Danaë will be at the center of an intimate group of paintings by father and daughter that will beautifully distill the artists’ capacity to modify and manipulate forms across subjects.
Generous support is provided by an anonymous gift in honor of Professor Edward J. Olszewski.
All exhibitions at the Cleveland Museum of Art are underwritten by the CMA Fund for Exhibitions. Major annual support is provided by the Estate of Dolores B. Comey and Bill and Joyce Litzler, with generous annual funding from Mr. and Mrs. Walter R. Chapman Jr., the Jeffery Wallace Ellis Trust in memory of Lloyd H. Ellis Jr., Ms. Arlene Monroe Holden, Eva and Rudolf Linnebach, William S. and Margaret F. Lipscomb, Tim O’Brien and Breck Platner, the Womens Council of the Cleveland Museum of Art, and Claudia C. Woods and David A. Osage.
Generous support for public programs related to this exhibition is provided by the Samuel H. Kress Foundation.
