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Are you looking for the back-story or in search of our latest ”press release”? Do you want to view articles by AWA authors or share in the international media’s interest in art by women in Florence? AWA partners with various newspapers and magazines in Florence and abroad and has appeared in the media world-wide.

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Vanity Fair is lending a hand in spreading the news about art by women—and the need to recognize and rescue it. Aquaflor's newest perfume, made exclusively for AWA, is a sensorial experience of musk, osmanthus and rose, with hints of varnish and tobacco. It's a tribute for women artists in history and a new way to support our projects. VANITY FAIR

Thoughts on Lassnig, Pietro Leopoldo and portraiture. Austrian painter Maria Lassnig’s 70-year career, whose second half was amply represented in the 25-piece Florence show at the Pitti Palace left AWA Founder Jane Fortune thinking about Medici men, particularly Cosimo I and the Cardinal Pietro Leopoldo. Why?THE FLORENTINE

Plautilla Nelli masterpiece to be restored. Alexandra Korey spotlights the struggle of women artists to be heard and celebrates how it resonated with the many people who chose to get involved in #TheFirstLast. 409 people from 19 countries gave $67,810 before the official campaign closure on April 16, 2017, and more contributions are continuing to come in (any additional funds will go towards producing a book and documentary about the research and restoration of this painting).THE FLORENTINE

A newly gifted portrait of Anna Maria Luisa de’ Medici

A newly gifted portrait of Anna Maria Luisa de’ Medici

Palazzo Vecchio entrusts newly gifted portrait of last Medici Grand Duchess to AWA founder for restoration. AWA's founder Jane Fortune will soon be restoring a portrait of the last Medici heir Anna Maria Luisa de' Medici that was gifted to Palazzo Vecchio by a distant branch of the Medici family. The portrait was commissioned two years after the Electress Palatine's death. AML was Florence's most important benefactor, as she made it 'unlawful to alienate any Medici property from Tuscany, to the benefit of its people... and to attract the curiosity of foreigners.' THE FLORENTINE

Early women artists are often depicted as rebellious souls who “wreak havoc“ by overturning social expectations. Stories of women artists and their “indiscretions“ undoubtedly give us a thrill, but let’s look at the “small“ but fascinating transgressions that characterize their art—not their lives. THE FLORENTINE

Each year, starting 2017, Uffizi Gallery director Eike Schmidt is planning what the Italian press is calling “pink exhibitions“, designed to bring women artists to the forefront. Plautilla Nelli’s show at the Uffizi this March has left us all reflecting on the “top five” things Florence’s first woman artist has taught us. THE FLORENTINE

When Jane Fortune first met glass designer Ita Barbini several years ago at her Venetian studio, she was fascinated to learn more about the mysterious art of glass making. An exhibition at the CAD Museum engenders conversation between the art of two women. For full interview with Ita Barbini: THE FLORENTINE

What will happen to the self-portraits of female artists? Will they continue to have visibility in the Uffizi’s hallowed halls? Will visitors still have the chance to meditate on the collective power of art history’s greatest women protagonists? THE FLORENTINE

One of the founders of feminist art theory and author of the groundbreaking book Artemisia Gentileschi: “The Image of the Female Hero in Italian Baroque Art“, Mary Garrard is a pillar of knowledge for all those working toward the advancement of women in the arts. For the full interview: THE FLORENTINE

The words, “passion“, “drama“, “torture“ and “art“, describe the life of Artemisia Gentileschi(1593-1652/3), one of the world's greatest Baroque artists; a life that has all the chiaroscuro trappings of a romance novel. Even her exotic name, “Artemisia“, captures one’s attention. For full article: TIMELESS TRAVEL (pdf)

‘The earth gives food for the body. It also gives clay to the artist, so she can make food for the soul,‘ says Tuscan artist Amalia Ciardi Dupre who’s new exhibition venue and cultural center on Florence’s via degli Artisti, showcases her life’s work—now on permanent public view. The museum doubles as the artist’s studio. Read full article about Amalia: THE FLORENTINE

‘Art Exceptions‘ in Italy. In the seventeenth and eighteenth centuries, the majority of women artists around the world practiced art solely as an amateur pastime. It was unusual for them to receive payment for their works—as women artists were often gifted jewels or trinkets in exchange for rare private commissions. ITALY MAGAZINE

Unlike most Last Suppers created in her era, it is an oil-on-canvas work, rather than a fresco, since fresco painting was considered a ‘man’s job‘. Another rarity: though it was uncommon for women during that time to sign their works, Nelli includes her very visible signature. TIMELESS TRAVELS (pdf)

In October 1943, Paola Levi-Montalcini and her twin sister, Rita, boarded a train in Turin without knowing exactly where they would get off. Decades later, her sister would be a Nobel Prize-winning scientist while Paola Levi-Montalcini would be one of twentieth-century Italy?s most significant abstract painters and one of the many artists who contributed works after the flood of 1966 devastated Florence. THE FLORENTINE

“To be born a woman whose destiny is to become a sculptor is a condemnation,“ artist Stefania Guidi told us during our visit to her home-studio in the hills near Tivoli. “Nonetheless, I marched into one of via Margutta’s studios with my first self-portrait bust under my arm and declared, ‘Io sono scultore – I am a sculptor [in the masculine form]’. For more on Guidi and other ‘flood ladies: TIMELESS TRAVELS (pdf)

There is a side of art history that is in the shadows. There are thousands of sculptures and paintings by women that we know nothing about. Yet, these women were the contemporaries of Leonardo, Masaccio and Caravaggio. They worked for the courts and convents of their era, founding schools and workshops. CORRIERE DELLA SERA

For decades the Uffizi Gallery’s Collection has hosted the most concentrated collection of art by women in Italy in the Vasari Corridor—with over twenty works by female artists on the walls. In fact, when it comes to representing women, the vast majority of larger museums worldwide cannot match this seemingly small sampling of paintings spanning the 16th to the 21st centuries. TIMELESS TRAVELS (pdf)

“I feel very humbled to play a small part in giving each artist a voice. In many cases, their voices have never been heard before.“ Timeless Travels Editor-in-chief talks to Jane Fortune about her quest to rescue historic women artists in Florence from oblivion. TIMELESS TRAVELS (pdf)

By giving a voice to historic
women artists AWA rescues
and reclaims the ‘hidden half’
of Florence’s art.

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