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Art Herstory Adds Five New Note Card Designs for Spring 2021

by Erika Gaffney | Feb 26, 2021 | News/Blog

Front covers of the five new portrait-mode Art Herstory note card designs, introduced in February 2021. Just in time for Women’s History Month, Art Herstory is excited to launch five new note card designs! Some of the cards present new works by early modern...

The Metropolitan Museum of Art Acquires Three Paintings by Orsola Maddalena Caccia

by Erika Gaffney | Jan 19, 2021 | News/Blog

Fruit and Flowers, c. 1630, by Orsola Maddalena Caccia. The Metropolitan Museum of Art. Orsola Maddalena Caccia is now at the Met! The Metropolitan Museum of Art has acquired three works by the seventeenth-century Italian artist-nun. Two of the paintings are still...

New Books About History’s Women Artists | Oct–Dec 2020

by Erika Gaffney | Dec 16, 2020 | News/Blog

Here we list all the new publications—including games as well as books!—about women artists that have come to our attention, published in the fourth quarter of this calendar year. Descriptions are drawn from the blurb on the publisher’s website. If you know of other...

Art Herstory’s Women Artists Favorite Things, 2020 Edition

by Erika Gaffney | Nov 28, 2020 | News/Blog

Here at Art Herstory, we love to showcase works by history’s women artists. And we love to see other organizations do the same! With that in mind, this year we present the first-ever Art Herstory Women Artists Favorite Things List. (It is along the lines of...

Art Herstory Celebrates Women Artists with a Magnet/Bookmark Combo, and an Ornament!

by Erika Gaffney | Nov 27, 2020 | News/Blog

Just in time for the holiday season, Art Herstory launches two new items to celebrate history’s women artists. The first is an Artemisia Gentileschi-themed magnet/magnetic-bookmark combination. And the other is a Lavinia Fontana porcelain ornament. Either—or...
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  • Art Herstory Adds Five New Note Card Designs for Spring 2021
  • Anna Maria van Schurman: Brains, Arts and Feminist avant la lettre
  • Artemisia Gentileschi: What Wasn’t in the London Exhibition and Why it Matters
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