Invisible Women

FULL EPISODE

Invisible Women

Invisible Women sheds light on ground-breaking women artists and their thousands of little-known works. It's a public television special where rediscovery and restoration are the guiding forces behind an extraordinary quest: rescuing art Florence's 'forgotten' women artists.

AIRED: November 05, 2012 | 0:26:56
ABOUT THE PROGRAM
TRANSCRIPT

>> Narrator: FLORENCE, ITALY HAS

LONG BEEN CONSIDERED THE "CRADLE

OF THE RENAISSANCE," A CITY AND

AN ERA THAT CULTIVATED ARTISTIC

AND SCIENTIFIC DISCOVERIES,

WHICH WOULD FOREVER CHANGE THE

WAY WE LIVE AND UNDERSTAND THE

>> Linda Falcone: YOU HAVE TO

CONSIDER THAT ITALY HAS 60

PERCENT OF THE WORLD'S CULTURAL

>> Narrator: THIS TIME OF

ENLIGHTENMENT CULTIVATED MANY OF

THE WORLD'S GREATEST CREATIVE

MINDS.

SEVERAL ACCOMPLISHED ARTISTS OF

THIS PERIOD WERE FEMALE.

YET, LITTLE IS KNOWN OF THEIR

>> Giles Knox: THE WOMEN WHO

BECAME ARTISTS IN THE

RENAISSANCE WERE RADICALS.

THEY WERE DEFYING EXPECTATIONS

>> Narrator: FOR HUNDREDS OF

YEARS, MUCH OF THIS ART

LANGUISHED IN DARK ATTICS AND

BASEMENTS IN STORAGE FACILITIES

THROUGHOUT THE WORLD.

MANY OF THESE PAINTINGS WOULD

HAVE BECOME TRAGIC VICTIMS OF

TIME AND THE ELEMENTS, IF NOT

FOR A GROUP OF DEDICATED WOMEN

ARTISTS, HISTORIANS AND ART

EXECUTIVES, WHO INVESTIGATE

HIDDEN CLUES FROM THE PAST TO

DISCOVER LONG-FORGOTTEN

TREASURES AND RESTORE THEM FOR

>> Jane Fortune: THESE

WOMEN...IT'S TIME THEY GET THEIR

>> Narrator: THIS IS A STORY OF

PASSION AND RESILIENCE BY A

GROUP OF DEDICATED WOMEN...THOSE

FROM HUNDREDS OF YEARS AGO, AND

THOSE FROM THE 21ST CENTURY.

EACH OF THEM INSPIRES US TO

EXPLORE THE CREATIVE MIND AND TO

CELEBRATE THE BEST OF THE HUMAN

>> Announcer: FUNDING FOR THIS

PROGRAM IS MADE POSSIBLE BY THE

>> Jane Fortune: ...I AM SO

HUMBLED TO BE ABLE TO HAVE MY

BOOK PRESENTED TO THE UFFIZI

I DON'T THINK ANYONE HERE CAN

REALLY UNDERSTAND HOW IMPORTANT

>> Narrator: IN NOVEMBER 2009, A

NEW BOOK BY AUTHOR, HISTORIAN

AND ART LOVER DR. JANE FORTUNE

PREMIERED, " INVISIBLE WOMEN:

>> Jane Fortune: THEY'RE ALL OF

A SUDDEN REDISCOVERING THESE

WOMEN.

THEY'RE FINDING THEM.

THEY ARE DELVING INTO RESEARCH.

THEY'RE FINDING OUT WHO THEY

ARE, WHAT THEY'VE DONE.

THE PUBLIC HAS TO KNOW ALL ABOUT

>> Christina Acidini, through

Interpreter: I BELIEVE THAT

EVERYTHING THAT'S DONE IN THIS

DIRECTION PROVES VERY POSITIVE,

REDISCOVERY AND MAKES US

APPRECIATE A PART OF ART HISTORY

THAT WE'VE RISKED FORGETTING

>> Narrator: FORTUNE IS THE

FOUNDER AND PRESIDENT OF THE

ADVANCING WOMEN ARTISTS

FOUNDATION AND THE FLORENCE

COMMITTEE OF THE NATIONAL MUSEUM

OF WOMEN IN THE ARTS -- TWO

GROUPS THAT DEDICATE TIME AND

RESOURCES TO PROMOTING VISIONARY

WOMEN ARTISTS THROUGHOUT

HISTORY.

AS WELL, FORTUNE SPENDS MUCH OF

HER OWN TIME AS A TYPE OF "ART

DETECTIVE," DOCUMENTING AND

CELEBRATING THE LIVES AND WORKS

OF THOSE SHE CALLS "INVISIBLE

WOMEN," A LITTLE-KNOWN, YET

INFLUENTIAL GROUP OF FLORENTINE

ARTISTS WHOSE WORKS DATE BACK TO

>> Jane Fortune: I LOVE THE

RESEARCH.

I LOVE THE PUZZLE.

I LOVE FINDING THE ANSWER TO THE

>> Susan Fisher Sterling: TO

INVOLVED IN REALLY TAKING THE

MESSAGE OF WOMEN'S EXCELLENCE IN

>> Narrator: FORTUNE, A NATIVE

OF INDIANAPOLIS, INDIANA,

ROUTINELY TRAVELS TO FLORENCE TO

WORK ALONGSIDE A TALENTED TEAM

OF THE WORLD'S FOREMOST

RESTORATION ARTISTS, MUSEUM

EXECUTIVES AND ART HISTORIANS --

ALL FEMALE -- TO DIG THROUGH

MANY ANCIENT, ITALIAN ARCHIVES.

TOGETHER, THEY CAREFULLY RECOVER

FORGOTTEN WORKS, RESTORE THEM TO

PRISTINE CONDITION, AND THEN

HAVE THEM EXHIBITED IN MUSEUMS

AROUND THE WORLD.

FORTUNE'S PASSION FOR TRACKING

THIS HISTORY HAS, IN SOME ART

CIRCLES, EARNED HER AN

AFFECTIONATE NICKNAME --

>> Jane Fortune: MANY OF THESE

WORKS HAVE BEEN THERE FOR

CENTURIES...THE STORAGES ARE IN

THERE WERE 1,500 WORKS BY WOMEN

IN THE STORAGES THAT MOST PEOPLE

>> Narrator: JUST WHO WERE THESE

"INVISIBLE WOMEN" FROM THIS

TREASURED PERIOD IN HISTORY?

HOW DID THEIR INSPIRATION AND

CREATIVITY INFLUENCE THE WORLD'S

ARTISTIC AND CULTURAL HERITAGE?

THEIR STORIES ARE CENTURIES OLD.

YET, THEIR EXPERIENCES RESEMBLE

THOSE OF OTHER TRAILBLAZERS

THROUGHOUT HISTORY WHO

SUCCESSFULLY FOUGHT FOR EQUALITY

>> Jennifer Lee: IN THE

RENAISSANCE, INTELLECTUALISM,

CREATIVITY, THESE ARE CONSIDERED

VERY MALE TRAITS.

THE WOMEN WHO WERE WRITTEN ABOUT

IN THE RENAISSANCE ARE DESCRIBED

>> Judith Mann: IT'S NOT FOR

PEOPLE WHO GIVE UP EASILY.

THERE'S A LOT TO BE MASTERED

SO, THERE IS THAT GENERAL KIND

OF HUMAN QUALITY THERE THAT IT'S

ALWAYS BEEN AN ARTISTIC AND

SPIRITUAL CENTER.

YOU HAVE THE WHOLE PHENOMENON OF

CONVENT ARTISTS, AND THE FACT

THAT MANY NUN ARTISTS WERE

ACTUALLY WORKING AND PRODUCING

>> Narrator: THE FIRST KNOWN

FEMALE PAINTER OF FLORENCE WAS A

NUN WHO STUDIED ART AT THE

CONVENT OF SANTA CATERINA DA

>> Jennifer Lee: AS A CLOISTERD

NUN, SHE WAS IN THE COMPANY OF

WOMEN AND WOULD HAVE HAD VERY

LIMITED EXPOSURE TO MEN.

THE MALE BODY HAS BEEN THE

VISUAL CONVEYOR OF A LOT OF

REALLY IMPORTANT IDEAS IN

WESTERN CULTURE EXPRESSED

VISUALLY.

SO THAT WAS REALLY THE TEST OF

WHAT MADE YOU A GREAT

ARTIST...HOW WELL YOU COULD DO

>> Narrator: LIMITED IN HER

EXPOSURE TO MUCH OF THE OUTSIDE

WORLD, NELLI WORKED PRIMARILY

FROM THE SKETCHES AND PAINTINGS

OF OTHER MASTERS.

SHE PIECED TOGETHER IMAGES FROM

THESE OTHER WORKS TO CREATE HER

>> Susan Fisher Sterling: SHE

STUDIED UNDER AN ARTIST OF THE

PERIOD, A MALE ARTIST, AND

COPIED HIS STYLE BUT ALSO

BROUGHT SOME OF HER OWN

>> Judith Mann: SOME ARTISTS AE

MUCH MORE GIFTED AT SEAMLESSLY

WEAVING THESE VARIOUS PARTS

TOGETHER TO MAKE A NEW

>> Narrator: WHILE MANY FEMALE

ARTISTS IN LATER YEARS CREATED

WORKS OF MODEST SIZE, NELLI

DARED TO PAINT LARGE FRESCOS,

LUNETTES AND OTHER EXPANSIVE

PIECES THAT ONCE ADORNED THE

WALLS AND ALTARS OF CHURCHES IN

FLORENCE DURING THE 16TH

CENTURY, INCLUDING HER OWN

LARGE-SCALE INTERPRETATION OF

>> Jane Fortune: SHE SIGNED IT

"PRAY FOR THE PAINTRESS"...NOT

THE "PAINTER", THE "PAINTRESS,"

AND THEN SIGNED HER NAME.

SHE WAS, IN SOME WAYS, MAKING A

STATEMENT OF, "LOOK.

>> Sheila Ffolliott: GIVEN WHAT

TRAINING, THE ARTWORK THAT SHE

COULD SEE, WHAT SHE ACCOMPLISHED

>> Narrator: ONE OF NELLI'S MOST

CELEBRATED WORKS IS LAMENTATION

WITH SAINTS .

NELLI STARTED WITH SKETCHES

PROVIDED TO HER BY HER TEACHER,

A DOMINICAN FRIAR, AND THEN SHE

ADDED HER OWN UNIQUE PERSPECTIVE

TO THE SCENE.

IN PARTICULAR, THE EXPRESSIONS

OF THE WOMEN IN THE PAINTING

ILLUSTRATE THE DEEP SORROW THEY

ARE EXPERIENCING WITHIN THIS

NARRATIVE OF CHRIST'S

CRUCIFIXION.

WHEN THE RESTORATION TEAM

REDISCOVERED THIS LONG-FORGOTTEN

WORK IN JUNE 2005, IT WAS IN

>> Jane Fortune: WHEN THEY

INSPECTED IT, UNBEKNOWNST TO

ANYBODY, THERE WERE WOODWORMS IN

THE WOOD CANVAS.

THE PAINTING SPENT ONE MONTH

WRAPPED IN CELLOPHANE.

THE CELLOPHANE WAS GASSED, AND

IT LAID THERE IN STORAGE TO KILL

THE WOODWORMS, AND THEN THEY

>> Rosella Lari through

interpreter: YOU ENTER INTO

THE OPERATIVE STAGE, WITH

YOU CAN CONSIDER ONLY THE

PHYSICAL REALITY OF THE WORK,

WITHOUT ALLOWING YOURSELF ANY

EMOTIONS ABOUT THE IMAGE ITSELF.

YOU NEED THIS DISTANCE IN ORDER

TO SAVE THE SMALLEST PAINT

FLAKE.

AT THE END OF THE DAY, HOWEVER,

I OFTEN LET MYSELF BE MOVED BY

THE COMPASSION THAT EMANATES

FROM THE FACES OF THE CRYING

WOMEN.

AS A WOMAN, I LET MYSELF BE

CARRIED BACK IN TIME TO IMAGINE

THE LIFE OF SISTER PLAUTILLA AND

HER COMPANIONS WITHIN THE

>> Narrator: RESTORATION ARTISTS

USED A STATE-OF-THE-ART

TECHNIQUE KNOWN AS "INFRARED

REFLECTOGRAPHY," A TYPE OF "ART

X-RAY," TO LOOK BENEATH THE

PAINTING TO EXAMINE NELLI'S

ORIGINAL SKETCHES, WHICH VARIED

SLIGHTLY IN SEVERAL AREAS FROM

>> Jennifer Lee: THE PROCESS OF

RESTORATION IS ALMOST AN

ARCHEOLOGICAL PROCESS IN WHICH

THE CONSERVATOR DISCOVERS THE

WORKING METHODS OF THE ARTIST.

YOU CAN SEE THE PROCESS THROUGH

WHICH SHE HAS CHANGED HER MIND

OR ADJUSTED HER DRAWING OR

CORRECTED THINGS.

AND WE LEARN A GREAT DEAL ABOUT

HOW WORKS OF ART WERE MADE, HOW

DECISIONS ABOUT WORKS OF ART

WERE MADE BY EXAMINING THEM ON

>> Narrator: BY OCTOBER 2006,

AFTER 14 MONTHS OF CAREFUL

CONSERVATION WORK, NELLI'S NEWLY

RESTORED LAMENTATION WITH SAINTS

DEBUTED AT THE SAN MARCO MUSEUM

>> Jane Fortune: THIS DIRTY,

DINGY LIFELESS PAINTING CAME TO

LIFE, AND NOT ONLY DID IT COME

TO LIFE, THE LIFE WAS SHOWN IN

SUCH DEEP EMOTION.

THERE'S JUST SOMETHING ABOUT HER

WORKS THAT JUST GRAB YOU AND

THE RESTORATION HAS GIVEN US

A NEW LIVELINESS AND CLEARNESS

ALSO IT HAS GIVEN US A NEW

MANNER TO KNOW THE AUTHOR,

THE PAINTER, SISTER PLAUTILLA.

BECAUSE OF THE POSSIBILITY TO

READ THE INTENSITY OF

EXPRESSION OF FIGURES AND

ESPECIALLY OF THE WOMEN AROUND

CHRIST, WE KNOW SO MUCH MORE OF

PLAUTILLA, OF LAMENTATION , AND

OF THE CONVENT LIFE IN FLORENCE

>> Narrator: THE AGENCIES JANE

FORTUNE REPRESENTS HAVE PROVIDED

RESOURCES TO MANY OF THE WORLD'S

TOP ART HISTORIANS AND MUSEUM

ADMINISTRATORS TO CULTIVATE AN

ONGOING MISSION AND VISION TO

REDISCOVER AND RESTORE SEVERAL

FORGOTTEN WORKS FROM THE FIRST

KNOWN FEMALE PAINTER OF

FLORENCE.

TOGETHER THESE PROFESSIONALS

HAVE SAVED SEVERAL OF NELLI'S

ORIGINAL SKETCHES, AS WELL AS

TWO LARGE LUNETTES: SAINT

DOMINIC RECEIVES THE ROSARY ,

AND

>> Jane Fortune: WE FOUND THE

TWO LUNETTES IN STORAGE.

THEY HAD BEEN DOWN THERE FOR

WHAT THEY FOUND IN ST. CATHERINE

WAS IT TOO WAS DARK AND DINGY.

BUT THEY COULDN'T UNDERSTAND WHY

ST. CATHERINE WAS LOOKING UP.

AND WHAT THEY FOUND WAS THIS

LIGHT, AFTER THEY CLEANED IT,

THAT WAS COMING DOWN.

AND IT'S THE CHRIST BRINGING THE

>> Christina Acidini, through

interpreter: EFFORTS TO

OBVIOUSLY DIRECTED TO OUR

CULTURAL HERITAGE IN GENERAL.

WHAT I THINK WE ARE DOING ON

MANY FRONTS IS DEDICATING

SUPPLEMENTARY ATTENTION TO WORKS

OF ART BY WOMEN, THROUGH

INITIATIVES LIKE RESTORATION AND

PRESENTATION TO THE PUBLIC --

PLACING AN EMPHASIS ON THE

PERSONALITIES OF THESE WOMEN

>> David Franklin: IT'S REALLY

ARTEMISIA GENTILESCHI I THINK

WHO BREAKS

REALLY FEEL FOR THE FIRST TIME

THERE IS A CREATIVE FERMENT

>> Narrator: IN THE EARLY 1600S,

ARTEMISIA GENTILESCHI RECEIVED

SOME OF THE HIGHEST-PAID

COMMISSIONS EVER BESTOWED ON A

FEMALE ARTIST OF THE PERIOD.

HER REPUTATION FOR GRAND-SCALE

NARRATIVE WORKS EARNED HER NOT

ONLY SIGNIFICANT SUMS OF MONEY,

BUT ALSO FRIENDSHIPS WITH NOTED

SCIENTIFIC AND POLITICAL LEADERS

OF THE ERA, INCLUDING GALILEO

AND THE GRAND DUKE COSIMO II,

CELEBRATED PATRONS OF

THE ARTS.

ARTEMISIA TRAINED UNDER HER

FATHER, ORAZIO, WHEN SHE WAS

JUST A TEENAGER.

IT WAS A TIME IN WHICH SHE FACED

SOME OF THE MOST DIFFICULT

>> Giles Knox: HER DRAWING

MASTER, AGOSTINO TASSI, RAPED

YOUNG WOMAN.

AND THERE WAS A TRIAL IN WHICH

SHE WAS TORTURED IN ORDER TO TRY

TO BREAK DOWN THE STORY.

IT WAS REVEALED THAT HE, INDEED,

>> Narrator: IN THE AFTERMATH OF

THE SCANDAL, ARTEMISIA'S FATHER

HASTILY ARRANGED A MARRIAGE

BETWEEN HIS DAUGHTER AND A MINOR

FLORENTINE PAINTER.

THE COUPLE MOVED FROM HER HOME

IN ROME TO FLORENCE, WHERE SHE

EVENTUALLY BECAME THE FIRST

WOMAN MEMBER OF THE CITY'S

ACCLAIMED ACADEMY OF ART AND

>> Judith Mann: I THINK OF

ARTEMISIA MORE AS VERY CLEVER,

VERY GROUNDED

IN TEXT AND READING.

IN 1616, SHE IS INDUCTED INTO

YOU CAN'T BE IGNORANT AND BE

>> Narrator: THROUGHOUT HER

CAREER, ARTEMISIA CREATED WORKS

OF PASSION, MANY OFTEN DEPICTING

POWERFUL, MYTHICAL HEROINES.

HER GRAPHIC DEPICTION OF JUDITH

BEHEADING HOLOFERNES IS CITED BY

SOME ART HISTORIANS AS A DIRECT

REFLECTION OF HER EXPERIENCES

>> Judith Mann: EVEN ARTEMISIA

HERSELF ADDRESSES THIS IN A

LETTER. SHE SAYS

FROM THE HAND OF A WOMAN."

AND WHEN SHE SAYS THAT, WE

SUSPECT SHE'S AWARE THERE HAS

BEEN SOME DISMISSING OF, YOU

HOW, "OH, IT'S

JUST A WOMAN," OR "A WOMAN

>> Narrator: ONE OF ARTEMISIA'S

MOST CELEBRATED CREATIONS IS

DAVID AND BATHSHEBA , A WORK

THAT

PROVED IMMENSELY CHALLENGING FOR

THE RESTORATION TEAM.

IT IS A PIECE THAT, AT ONE

TIME, HAD BEEN NEGLECTED IN AN

ANCIENT STORAGE FACILITY FOR

>> Jane Fortune: IT HAD BEEN IN

THE ATTIC, AND THERE HAD BEEN A

HOLE IN THE ROOF.

AND SO THE RAIN CAME DOWN ON THE

PAINTING.

WHEN WE FOUND IT, IT WAS

>> Narrator: IN 2007, MUSEUM

DIRECTORS, HISTORIANS AND

CONSERVATORS BEGAN CAREFUL

RESTORATION ON ARTEMISIA'S

>> Nicola Ann MacGregor: ANYBOY

WHO CAME TO THE STUDIO AFTER

RATHER SHOCKED, BECAUSE THEY

HADN'T EXPECTED TO FIND AS MUCH

>> Narrator: DAVID MILLER, A

CONSERVATOR WITH THE

INDIANAPOLIS MUSEUM OF ART AND A

FORMER MEMBER OF JANE FORTUNE'S

RESTORATION TEAMS, DESCRIBES THE

CHALLENGES FACED BY HISTORIANS

>> David Miller: THE CONSERVATR

DOES NOT WORK ALONE.

THE CONSERVATOR WORKS

IN COLLABORATION WITH ANY

HOW THE PAINTING OR THE ARTWORK

SHOULD LOOK AT THE END OF THE

TREATMENT.

ITALIAN APPROACHES TEND TO BE

SOMEWHAT DIFFERENT WHERE THEY

MAY USE MORE OF A NEUTRAL TONE

WHICH ALLOWS

THE VIEWER STANDING BACK,

THE BRAIN COMBINES THE

INDIVIDUAL COLORED STROKES INTO

A MORE COMPLETE CONTINUOUS TONE,

WHEREAS WHEN YOU GET CLOSE, YOU

CAN SEE VERY CLEARLY THAT THERE

WAS NO ATTEMPT TO ACTUALLY

>> Narrator: SUCH A TECHNIQUE

WAS USED BY THE RESTORATION TEAM

IN THE CONSERVATION WORK ON

>> Nicola Ann MacGregor: WE

CHOSE A BROWN

TONE THAT WAS GOING TO BE

MODIFIED IN LIGHT AND SHADE

ACCORDING TO THE COLORS THAT

>> David Miller: THERE IS NO OE

RIGHT WAY.

WHAT IS IMPORTANT IS THAT

HOWEVER IT'S DONE, IT'S DONE IN

A REVERSIBLE MANNER.

SO, WHEN PEOPLE CHANGE THEIR

MINDS 50, 75, 100 YEARS FROM

NOW, IT WILL BE EASY TO UNDO AND

USE THE PREVAILING PHILOSOPHY OF

>> Narrator: THE SUBTLE TONES

USED BY THE RESTORATION TEAM FOR

DAVID AND BATHSHEBA COVERED TE

MISSING PAINT WITHOUT LITERALLY

FILLING IN MUCH OF THE ORIGINAL

ARTWORK, INCLUDING THE AREA THAT

ONCE FEATURED BATHSHEBA'S LEFT

EYE.

AS THEY COMPLETED THEIR WORK,

THE TEAM DISCOVERED A SURPRISE

WHEN SEARCHING FOR THE FIGURE OF

>> Nicola Ann MacGregor: THERE

WAS NO SIGN OF HIM, OR THE COLOR

WAS SO FRAGMENTED THAT WE

COULDN'T SEE WHERE HE WAS.

BUT HAVING RECOMPOSED THE IMAGE

BY THE TONING DOWN OF THE

MISSING AREAS, THE LITTLE FIGURE

OF DAVID APPEARED ON THE

BALCONY.

THEREFORE, WE WERE ABLE TO

REDISCOVER ONE OF THE

>> Narrator: THROUGHOUT THE

YEARS, JANE FORTUNE AND HER

COLLEAGUES HAVE ENJOYED WORKING

ON A VARIETY OF PROJECTS, SUCH

AS THE COPY OF ANDREA DEL

SARTO'S MADONNA DEL SACCO BY

IRENE PARENTI DUCLOS.

MORE THAN 200 YEARS AFTER DEL

SARTO'S ORIGINAL FRESCO WAS

CREATED, MEMBERS OF A MEDICI

DYNASTY WERE SO MOVED BY THE

IMAGE THAT THEY COMMISSIONED THE

21-YEAR-OLD DUCLOS, THE ONLY

WOMAN FEATURED IN THE ACADEMIA

GALLERY IN FLORENCE, TO RECREATE

>> Jane Fortune: SHE TOOK A

LADDER...NOW IMAGINE THIS -

THIS IS A WOMAN ON A

TRACED THE ORIGINAL. I MEAN,

COPIED THAT TRACING, SO THAT

THAT'S WHAT SHE DREW.

NOW, FOR A WOMAN TO DO THAT,

AGAIN, THAT'S AMAZING IN THAT

>> Narrator: SKETCHES OF BOTH

THE WORK BY DEL SARTO AND THE

COPY BY DUCLOS SHOW THE CAREFUL

DETAIL WITH WHICH SHE CRAFTED

HER VERSION OF THE ORIGINAL

FRESCO.

AS WITH OTHER RESTORATIONS, THE

CONSERVATION TEAM UTILIZED

STATE-OF-THE-ART TECHNOLOGY,

INCLUDING A TECHNIQUE KNOWN AS

"REFLECTING SPECTOGRAPHY," WHICH

EMPLOYS OPTICAL FIBERS TO

DOCUMENT THE POINTS SELECTED FOR

ANALYSIS AND RESTORATION.

THESE AND OTHER MODERN METHODS

UNCOVERED IMPORTANT CLUES THAT

REVEALED THE TECHNIQUES DUCLOS

USED TO BRING THE COPY OF DEL

SARTO'S ORIGINAL WORK TO LIFE IN

>> Susan Fisher Sterling:

COPYING GREAT WORKS BY OTHER

SOMEONE COULD LEARN, BUT IT WAS

ALSO PART OF THE TRAINING AN

ARTIST WENT THROUGH.

YOU WERE LEARNING THE MASTER'S

STYLE BY GETTING AS CLOSE TO

THAT STYLE AS POSSIBLE.

AND THAT WAS AN ACCEPTED

>> Narrator: LIMITED IN THEIR

EXPOSURE TO MODELS AND TEACHINGS

FROM MASTER PAINTERS OF THE ERA,

MANY FEMALE ART PIONEERS CREATED

IMPRESSIVE STILL-LIFE IMAGES AND

PORTRAITS, BASED ON RESOURCES

THEY HAD READILY AVAILABLE.

STILL OTHERS -- MANY OF THE MOST

AMBITIOUS OF THE GROUP, SUCH AS

SOFONISBA ANGUISSOLA AND LAVINIA

FONTANA -- DARED TO CREATE

EXPANSIVE, NARRATIVE PIECES THAT

REFLECTED MEMORABLE STORIES OF

>> Judith Mann: HERE YOU HAVE N

FLORENCE THE IMPETUS TO FRESCO

LARGE SPACES AND TO MAKE LARGE

SCULPTURE THAT WILL ADORN

FACADES AND THAT WILL ADORN

CIVIC BUILDINGS OR SHARED

>> Narrator: THESE MODERN-DAY

RESTORATION SPECIALISTS HAVE

EXPLORED THE LIVES AND CREATIONS

OF MANY OTHER FEMALE, FLORENTINE

PAINTERS.

SEVERAL EXAMPLES INCLUDE A

SERIES OF WORKS BY WOMEN

PAINTERS WHO FOLLOWED IN

ARTISTIC SUCCESSION, BASED ON

THEIR COMMITMENT TO DEVELOPING

FUTURE GENERATIONS OF WOMEN IN

THE ARTS.

GIOVANNA FRATELLINI, A TALENTED

MUSICIAN AND PASTEL PAINTER WITH

THE MEDICI COURT, NOT ONLY

CREATED HER OWN MEMORABLE WORKS

AT THE ACADEMY OF ART AND

DESIGN.

SHE ALSO SHARED HER TALENTS AND

TECHNIQUES WITH OTHERS,

INCLUDING VIOLANTE SIRIES

CERROTI, THE FIRST WOMAN GRANTED

PERMISSION TO COPY THE "OLD

MASTERS" AT THE UFFIZI GALLERY.

CERROTI THEN PASSED ON HER

KNOWLEDGE TO ANOTHER FEMALE

STUDENT, MARIA HADFIELD COSWAY.

THE FOUNDER OF A GIRLS' SCHOOL

IN PARIS, COSWAY WAS AN

ACCOMPLISHED PAINTER, COMPOSER

AND MUSICIAN.

IN 1786, SHE WAS INTRODUCED TO

THOMAS JEFFERSON, WHO THEN WAS

SERVING AS THE AMERICAN MINISTER

TO FRANCE IN PARIS.

JEFFERSON DEVELOPED A ROMANTIC

ATTACHMENT TO COSWAY, AND THE

TWO CONTINUED CORRESPONDENCE

WITH EACH OTHER FOR FOUR

DECADES.

HER FLORENTINE SELF PORTRAIT,

ONCE CONSIDERED A LOST WORK, HAS

NOW BEEN DELIVERED FROM THE

DEPOSITS TO THE MUSEUM

SPOTLIGHT, DUE TO THE EFFORTS OF

TODAY'S LEADING FEMALE ART

>> Dr. Giovanna Giusti through

interpreter: IT WAS

TRULY A PITY THAT THIS WORK BY A

NATIVE FLORENTINE ARTIST OF

HAD OPENED AN INN IN FLORENCE

FOR GRAND TOUR TRAVELERS, HAD

ALL BUT DISAPPEARED.

AND HERE, WE SEE HER TODAY,

REDISCOVERED, RE-EMERGING FROM

>> Linda Falcone: IT'S A CRIME

SUCCESSFUL WOMEN ARTISTS WHO

WERE TEACHERS, WHO WERE

REVOLUTIONARY, WHO CREATED WORKS

THAT ARE TREASURES, AND THEY

>> Narrator: JANE FORTUNE'S

RESEARCH AND PUBLISHED WORKS

DETAIL THE LIVES AND ART OF MANY

OF THESE "INVISIBLE WOMEN" OF

FLORENCE.

AS WELL, FORTUNE AND HER

COLLEAGUES HAVE CREATED A "WOMEN

ARTISTS' TRAIL," A DETAILED

"TREASURE MAP" OF FLORENCE WITH

MARKINGS TO LOCATE AND EXPLORE

IN GREATER DETAIL CREATIONS OF

WOMEN ARTISTS DATING BACK TO THE

>> Jane Fortune: WHAT WE'RE

TRYING TO DO IS HAVE THEM FIND

AGAIN THEIR RIGHTFUL PLACE IN

THE HISTORY OF FLORENCE.

THEY'RE NOT WRITTEN ABOUT.

THE WORKS AREN'T SEEN.

SO THEREFORE, NOBODY KNOWS WHAT

PART THEY PLAYED IN THE

DEVELOPMENT OF THIS CITY, THIS

>> Christina Acidini, through

interpreter: FLORENCE'S ARTISTIC

HERITAGE BEARS WITNESS TO A

WEALTH OF WORKS LEFT TO US BY

WITHIN THIS COLLECTION, MANY

WORKS BELONGING TO WOMEN ARTISTS

ARE STILL WAITING TO BE

IDENTIFIED.

THOUGH MANY ARE WELL-KNOWN AND

SEVERAL HAVE BEEN REDISCOVERED,

WHO KNOWS HOW MANY OTHERS ARE

WAITING TO BECOME THE FOCAL

POINT OF SPECIFIC RESEARCH AND

>> Jane Fortune: IF I'M GOING O

SPONSOR RESTORATION, YOU HAVE TO

GUARANTEE ME IT'S GOING TO BE

PUT ON THE WALL, ON SOME WALL IN

THE MUSEUM;

IT'S NOT GOING TO BE PUT BACK

DOWN IN STORAGE.

IT'S RIDICULOUS TO DO IT AND NOT

HAVE ANYBODY SEE IT.

SO THAT IS A PROBLEM, BECAUSE

THERE AREN'T THAT MANY SPACES TO

>> Narrator: AS WELL, FORTUNE

HAS A MUCH GRANDER VISION TO

HELP CELEBRATE THE WORKS OF THE

>> Jane Fortune: MY NEXT

GOAL - AND

THIS IS GOING TO BE A LITTLE

BIT HARDER - I WANT TO FIND "A

SPACE OF THEIR OWN."

I WANT A SPACE WHERE WE CAN

EXHIBIT WORKS OF ART BY WOMEN

THAT ARE IN THE DEPOSITS, SO

THAT THE WORLD CAN SEE THEM.

I WANT THEM TO BECOME VISIBLE.

>> Narrator: FRIDA KAHLO ECHOED

THE JOY AND PASSION MANY WOMEN

ARTISTS ENJOYED THROUGHOUT

HISTORY.

TODAY, THERE ARE THOSE WHO ARE

COMMITTED TO SAVING AND

SHOWCASING THIS PASSION --

INCLUDING SCIENTISTS,

HISTORIANS, ART EXECUTIVES, AND

OTHERS DEDICATED TO PRESERVING

THESE IMPORTANT, YET

LARGELY-UNKNOWN WORKS.

TOGETHER THEY ARE HELPING TO

BLEND THE CREATIVITY OF THE PAST

WITH THE TECHNOLOGY OF THE 21ST

CENTURY TO BRING THESE FORGOTTEN

>> David Franklin: YOU LIVE AND

BREATHE IN A SPACE THAT'S FULL

GHOSTS, AND HISTORY'S ALL

AROUND YOU.

IT'S JUST TREMENDOUSLY

>> Jane Fortune: THERE'S NO

DOUBT ABOUT IT -

YOU CAN'T HELP BUT BE TAKEN,

BODY AND SOUL, BY THIS.

FOR MORE INFORMATION ON THESE

ARTISTS AND RESTORATION EFFORTS,

>> Announcer: FUNDING FOR THIS

PROGRAM IS MADE POSSIBLE BY THE

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