The history of the typewriter and typewriter is comparatively short compared to the history of literature or other technologies as partners in the creative process. With the advent of AI (here as part of infografix, see image below) the skills of using and mastering a typewriter have become almost obsolete. The original design by Remington (timeline below) has dominated for almost 100 years the technology of typewriters. Then came the electronic IBM technique with an automated correction type, which was not only faster, but also more forgiving of “typos”, short for typing errors.
The craft of handwriting had suffered a tough blow, despite its almost intimate touch to it. Knowing the typewriter outline by heart allowed typing with closed eyes or a focus on another text or image as well as a parallel thought process. Scientists and writers (Claude Levi-Strauss) reported on their creative process as intrinsically being linked to their typewriter.
QWERTY outlines for English language typewriters still dominate the keyboard typing today. With the AI interaction on the rise, we might move away from typing as a “Kulturtechnik” a technology of our cultural era and focus more on human-machine interactions via our voice and microphones. The underlying question, however, remains the same: What is the best technology to enhance our thought process? This, in fact, tends to be a very personal human choice, where technology plays only a subsidiary role. 
Classic Farces
Molière’s theatre pieces were popular pieces. Born with the name Jean-Baptiste Poquelin and son of a rich “tapissier” of the rue Saint-Honoré in Paris, he made a tough choice to devote his life to touring as a ”farceur” and comedian, having studied also law in Orléans before. Only after his first successful performances, farces and theatre plays, he could afford to buy the theâtre du Palais Royal, despite a bankruptcy about 20 years earlier with his own theatre. The much later title “Troupe du Roi” (of Louis XIV) and a pension by the King assured a financial and political independence rarely found in this period of classic theatre.
Molière’s “Les fourberies de Scapin” was written towards the end of his life and as a classic farce in the 17th century. The story is full of funny scenes and witty dialogues, which make it a great “intergenerational” theatre play even today. The plot about the institution of marriage addresses a cleaving social and legal construct “marriage”, which continues to excite all generations and across centuries.
(Source: Histoire de la littérature française XVII siècle. Robert Horville in (Georges Décote series editor)
Philosophy of Voyage
In an interview Claude Lévi-Strauss described himself as a philosopher of voyage. The excursions which lasted sometimes several months to live with indigenous people and study their languages, habits and culture became a scientific field of its own called social anthropology. He travelled with his wife and wrote down hundreds of notes and collected items. Only years later the concept of stuctural theory became evident to him. A voyage might go on after the end of traveling. It might start well before departure as well, not the least due to all the preparations. Colette, the French writer and polyartist, coined the phrase “ce qu’on sait faire, au fond, c’est de la route, ce n‘est pas du voyage ” in the novel « La chatte ». In the pre- and immediate post 2WW years “taking to the roads” often had a gendered view of this with women being rare to hold a driver’s license. To “find meaning through voyages” or “the voyage is the meaning” fill whole libraries. For better or worse, travel books are still best selling books in a shrinking overall book market (less print books sold, but still higher value of sales).
Colette The Cat
The novel “The Cat” (La chatte) was written by Colette with a view on the emancipation of women. The main character “Camille” freshly married to her husband is terribly jealous of the cat 🐈⬛ of her husband Alain. In order to deal with this situation she dropped the cat from a window in a moment of anger. As her husband seemed ready to divorce her due to this incident she claimed that her husband defended higher moral standards for the cat than for her psychological wellbeing. The novel certainly raises the issue of hierarchy of rights and duties. The moral dilemma highlights the schism of animal rights and/versus human rights. This specific issue seems to be resolved in the modern context, where both animal and human rights are protected in parallel. On a more abstract level, however, our relationship with animals and nature requires us to balance the rights and relationships again and again.
Racine Andromaque
The representation of Jean Racine’s “Andromaque” in Brussels at the Theâtre des Martyrs in 2025 has been an interesting choice, because the revival of a 17th century tragedy dealing with the intricacies of the Greek and Trojan war (mostly remembered for the Trojan horse). Jean Racine turned French theatre back to tragedies with his Andromaque (Résumé and analysis in French!), rather than the comedies or tragi-comedies of previous great authors like Molière.
The literary analysis of Andromaque by Roland Barthes (“Sur Racine”, 1963) identified 3 separate locations: chamber, anti-chamber and exteriors. The real power seems to live in the chamber as the place of respect, but also terror. (Compare also Mithridate). The anti-chamber is the place of diplomacy and the place of exchange of ideas, information and strategies. The exterior world is mostly closed off through walls or balconies as views from above. For Barthes this “symbolizes” even the prison inside or the pure heroic life inside the walls.
Besides this 21th century interpretation of 17th century theatre, Racine is remembered for his tragic love stories where A loves B, but B loves C and, maybe C falls in love with A. (Compare Robert Horville, 1991) The Condorcet paradox (Science of it) described only formally in the 18th century enlightenment, many decades later, had proven mathematically that such combinations of personal preferences are impossible to resolve. Hence, these confusions are great stuff for tragedies to evolve live on stage.
Opera design
France celebrates 150 years of the National Opera Garnier in Paris. The exhibition in the splendid building traces the history of the building from the competition for the design to the legendary performances and celebrities attending. The stairs outside and even more so inside are built to enhance the glamour around operas and dance. The drawings by Garnier are a highlight as much as the videos about celebrities walking up the stairs of an Opera building.
Charles de Gaulle, as many French Presidents before, dressed and took the famous stairs to impress the official invitees. The image of de Gaulle together with Konrad Adenauer is another interesting example of opera politics showing the authentic friendship after the fierce fighting of the 2 WW, the Nazi-terror and Shoa.
The design of the Paris Opera 150 years ago made for an impressive ritual performance of state diplomacy enhancing international reputation.
(Images: 150 years of Opera Garnier Paris – 3 designs, winning design by Garnier on the right).
Balance and justice
Justice is often represented with the symbol of a balance. This dates back at least to the Roman times when the Roman law reached an unprecedented spread across Europe. The philosophy of law dating even further back to the Greek philosophers, notably Aristotle, founded comparative law with his comparison of constitutional principles in various Greek city states of his time. Striking the right balance, therefore, is encrypted into law, legislation and the American constitutional principle of checks and balances. In Paris the sculpture in the “Parc du Palais Royal” of heavy metal balance at the opposite end of the park is moving as well. Facing the ”Conseil d’état” and the “Le conseil constitutionnel”, this is a forceful reminder of the basic principles of a republic and democracy.
In the 21st century, particularly, since the weights attached at each end of the balance pull more forcefully at the moment in several countries.
Institution building and safeguarding the existing ones have become “the challenge for democracies in 2025 in many “centuries-old” democracies.
(Image: Sculpture by Raul Mourao in Parc Palais Royal, Paris 2025-10)
Deep reading
Rembrandt depicted in the 17th century not only the university professor Sylvius, but the reader and presenter based on his readings as well as professional experience. The combination of studies in medicine and philosophy have confronted the lifelong reader with lots of unresolved issues at that time. Nevertheless, he seems ready to argue with his profession, students public or the public. His hand is shown with an outreaching gesture. The scientist is not depicted in the reading pose next to lots of other books in the background or in a library. The image chosen by Rembrandt stresses the discourse and discussion as part of the scientific or research and teaching process. (Image BNF, 2025 exhibition “L’Europe partagé”).
Colette nature narratives
In the 21st century we know that posting images of cats and dogs yields thousands of likes on the digital social media. Long before today, writers have tried to make us understand our existence through the narratives among animals, also beyond cats and dogs.
Embedded in nature, stories unfolded through the interaction of these animals. Transfigurations and lessons were derived from such fables as well as the tales constructed around the interaction of nature, animals and humans. The commemoration of Colette in the park of the Palais Royal in Paris combines all those aspects.
She grew up in the countryside, wrote “La Chatte” and lived in an apartment at the Palais Royal with a splendid view of the park later in her life.
It is a tiny spot of cultivated nature in the heart of Paris, even a bit isolated from the busy surroundings. Certainly, these days in the centre of Paris you are more likely to meet “Aristocats”, maybe from the 5 star hotels around, rather than the ordinary cat passing by.
(Image, bench in park of Palais Royal, Paris: inscription is a citation from Colette 1925 letter)
The Beast is dead
The BNF and the gallery Auguste Rondel celebrate the acquisition of the original drawings of “La bête est morte” by „Calvo“ at the fabulous Richelieu site. The appearance of the story and cartoon in 1945 was a landmark in artistic achievements for several reasons. (1) Calvo made it possible for whole families to talk about the horrors of war and the Shoa by use of text and images in an form of an animals’ world, well known in France. (2) Because all generations are familiar with the fables written by Jean de la Fontaine, the story set in the world of animals is both appealing and yet a bit more distant than drawing human faces on this traumatizing reality. (3) The cartoons managed to overcome the barriers to understand the beginning and ending of World War II and the geographical spread.
Uderzo, the well known cartoonist of “Asterix” did small services for Calvo when he was still an adolescent in 1945. Learning from the best of a field can give you a head start later on. (Extract of Image by Calvo 1945).
AI as individualizer
In a one pager in the journal “Rolling Stone” (2025, p. 9) Bruno Patino writes about the legendary David Bowie who was the first rock musician to launch a new song on the internet before it became available as CD (Telling Lies, 1996). As a pioneer in co-creation, Bowie anticipated somehow the trend and wish of people to personalize preferred songs even further and distribute such versions among friends. In this process, AI has become a powerful tool to push individualization even further and the digital social media allow even broader audiences beyond a more narrow circle of friends. Music maybe setting the trend for some in the same field, other creative fields might follow the footsteps. The need to co-create collective experiences and participate in collective musical moments is likely to rise again as well.
Good news for music festivals across the world. Live concerts are the new form “collective individualism”.
Colette Bewitched child
The English translation of the libretto written by Colette “L’enfant et les sortilèges” is translated to “the bewitched child”. The first representation was performed in Monte-Carlo in 1925 before it was represented in Paris at the Opéra Comique in January 1926. The printed edition of Ravel’s orchestration classified the work as Fantaisie Lyrique based on a poem by Colette. This opus constitutes a forgotten forerunner of the much more popular musical “Cats” . In the end of Colettes narrative the animals call the child her “mama” and praise the good and wise child. It probably remains a forgotten 100’s anniversary, despite the fact that the topic of humans and animals, or nature in more general terms, have become more and more unbalanced over the last 100 years.
Colette Home
- The home of Colette, the French writer of the first half of the 20th century, is an interesting example of the high attributed value for her later creative career. The home and the gardens around, seemingly had a huge and lasting impact on her imagination.Her writings are firmly embedded into not just her home of childhood and adolescent years, but also the changoof homes and contexts literally made Colette. The documentation of this in the “Musée Colette”, which presents the different phases of her life course, allows to get a better understanding of the interconnected world of experiences and artistic work. It takes an especially broad set of influences to form such a polyartist. The libretto for an opera orchestrated by Maurice Ravel or a model for Matisse, stand for the openness to new experiences and take risks when she embarked on new creative endeavors. (Image Musée Collette catalog p. 6)
Polyartist Colette
It is a complex task to do justice to a polyartist like Colette. The curators of the exhibition “Les mondes de Colette” (BNF 2025) Bouvard, Dimerman, Le Bras do a great job to present the biography of Colette, the writer, journalist, dancer in music halls, model (for Matisse) and entrepreneur in all facets of her activities. The role model of an emancipated women as early as the 1910s, 1920s and 1930s. The struggle of women artists in the early years of the 20th century to make a living from art is well documented already. To make a living of writing has always been a challenge if you do cherish your independence and liberty of expression. Versatility in artistic production is one escape route. Colette made a strength of this in diving into different forms of art and professional activities close to the artistic and creative world. In a quite unique way, she became her own muse for her own artistic work; and a character and inspiration exploring many facets of live. The economic misfortune experienced her parents became a source and force of inspiration.
Contrary to the expectations of the market of arts and literature, she did not feel like sticking to just one activity. Her most lasting achievements, probably, were her literary accomplishments for most people, although Matisse immortalized her in his specific style of abstraction.
Polyartists just like Polymaths, make more comprehensive contributions to our experiences.
(Image:Lithographie by Henri Matisse of Colette, exhibition Colette at BNF 2025).
Embedded Artists
The Brussels districts have their specific identities.
The Forêt district is reconfiguring itself rapidly. In addition to the Modern Art Gallery Wiels, It hosts a multitude of diverse artists. Many of them opened their doors to the public as part of the 4 days of Parcours 1190. It turned out to be a truly Inclusive experience in the broadest sense possible. The immersive experience of seeing the work and the artists, some of them in their private homes, created a sense of an embedded connection to their work and personalities. The artists are embedded in the district around them nd the people of the district might feel a bit more connected to the artists surrounding them. The artist has integrated the pink poster of parcour1190 into one of his works under the overarching theme of inclusion. Social inclusion can take many forms, The Brussels district Forêt has added new dimensions to it. (Image entry to Hassan Bouzougarh‘s exhibition on 2025-10-5, Brussels Forêt).
Inclusive images
In the last 2 decades we can observe a strong concern among photographers to broaden the spectrum covered by images beyond well established imagery of non-binary gender. Diversity in imagery has taken a broader scope to extend, for example, the age range of people who are portrayed as central topic of exhibitions. The topic of mental diversity is more recent and needs a similar or even increased sensitivity to do justice to the whole spectrum of people. The photography of people with mental challenges necessitates a much more careful approach to the persons and complex personalities the photographer intends to portray. Trust and the development of trust of more vulnerable persons is a time sensitive process. The work by Charlotte Abramow “Maurice, Tristesse et rigolade” is a fine example of a photographer who portrayed over a long time of taking care of her father, previously a medical doctor, The years of the final stages of the life course of her father have been the subject over many years as the survivor of an extended medical coma had to struggle with the tough challenge of re-learning basic life skills again.
Abramow portrays her father as an actor of his “second life”, where the borders between reality, reconfigurations of his memories, and “mise en scene” to co-produce the images. The images go far beyond the portrayal of aging and mental challenges as a deficit of persons. Yes, it is an integral part of these persons, but there is so much fun and positive emotions that derive from the intensive collaboration of actor, father and photographer that the images stick with us for a longer time. The presentation of props along with the photos creates an immersive installation, which strengthens the emotional bonding with the inclusive images of the later phase of the life course of Maurice.
Sink / Rise
Nick Brandt presented his engaged photographic projects “The day may break” in Brussels at the Hangar Gallery space in Brussels (2025-9-21). The photographic work spans the globe to document and tell the story of a an endangered planet. The environmental and social fabric is at risk of an unprecented scale in the 21st century. Rather than producing hours of documentation, Nick Brandt focuses on images that stick. His “mise en scene” is meant to haunt us. And it succeeds in it. In the best sense of a tradition of a “photographe engagé” he intends to convey messages, even whole narratives to us about and from people in remote places, who are endangered through our inaction or paralysis in front of the challenges posed by global warming and climate change as well as the social and societal consequences.
We can save people from drowning in floods and rising sea levels. The chapter Sink / Rise of this project was produced with people from the Fiji islands who participated in the futuristic scenario of a sunk island. Without accusations, these people question us. Why? How? What for? Where to? – without speaking a word. They spend time in on a sunk island, surrounded, submerged by beautiful, but morbid, turquoise water and the graveyard-like remainders of a broken coral reef. These are photographs not of these people, but about them, about their likely fate, and (very important) produced with them as empowered actors. May they have a chance to rise like a phoenix from the ashes from these photos.
The documentation on the “Making of …” (image below) as part of the same exhibition allows transparency and additional insights into the artist’s work and proceedings.
(Image: Hangar Gallery, Brussels 2025-9-21, On the making of Sink / Rise by Nick Brandt)
500 years Motherhood
The history of art is full of depictions of motherhood. The catholic church has largely contributed to this phenomenon. Sandro Boticelli created in 1478 his painting of Maria and the child surrounded by singing angels. As Maria is said to know about the tragic fate of her child, her facial expression is rather sad or apprehensive than full of joy. The public acclaim has lasted already for more than 500 years. The women and people who sympathize with this depiction seem to share some of the worries about the future of both mother and child. Apparently, this has not changed over the course of the centuries. In the 21st century such concerns still have a co-determination effect on women to lead to lower fertility rates in most parts of the world. Fertility depictions in art history might serve as early indicator of behavioral changes. Some take centuries to play out. Technological, medical devices or social policies can amplify such seminal trends. (Image: Sandro Boticelli and disciples , 1478, Gemäldegalerie Berlin)
Raffael Madonna
„Mary and the child“ has been the success painting of Raffael around the years of 1500. 3 variants on this topic are presented at the Gemäldegalerie Berlin. Each pose varies only slightly, but each tells a very different story. The Madonna changes the regard from beyond the child, on the child, then to another child. An interesting sequence as such, which puts the relationship with the child also in perspective. The child develops over the sequence from the fast learner into the person with „power grip“ to the one that is spreading benevolence. The different stages of the life course are somehow taking place within a short period of the child. (Image: Raffael, Mary with Child, Gemäldegalerie Berlin)
Gentileschi Gentileschi
There are 2 Gentileschis that entered the history of art. Orazio the father and his daughter Artemisia. Orazio painted many scenarios based on the bible. The incestuous relationship between Lot and his daughters is difficult one to portray and to do justice to the moral concerns involved. Artemisia, similarly, did not shun away from difficult stories of the bible and added a personal twist to these stories in putting her face into the biblical depiction. The cruelty of the stories become more explicit this way and maybe also her deviant position to the biblical narrative. (Image: Orazio Gentileschi‘ (1622/23) „Lot with his daughters“ Gemäldegalerie Berlin)
Caravaggio Gentileschi
The „Gemäldegalerie“ in Berlin features in the permanent exhibition the famous Caravaggio painting of „Cupid as Victor“ (1601) in the same room with Orazio Gentileschi‘ (1622/23) „Lot with his daughters“. The paintings show the same technique of painting with the stunning effects of light and shade. Gentileschi‘s own daughter became equally successful as painter applying the same technique and maybe even more recognized as her father. Berlin and Paris jointly allow to trace interesting new perspectives on the history of art from a gender perspective. The male domination in art of the 16th and 17th century was pervasive, but Artemisia Gentileschi a formidable exception. (Image: Caravaggio „Cupid as Victor“, 1601, Gemäldegalerie Berlin)
Age of maturity
The bronze statue by Camille Claudel „L‘âge mûr“ is her most famous works. It is part of the exhibition Claudel & Hoetger in the “Alte Nationalgalerie“ in Berlin. Usually the statue is part of the permanent exhibition in the „Musée d‘Orsay“. With the depiction of different stages of the life course and somehow revealing the emotional trajectories of the persons the scene of human joy and tragedy becomes tangible beyond her personal fate. The scenario and arrangement in the Alte Nationalgalerie allows to focus on this particular work with an emphasis on the trajectory and the evolutionary path. A unique arrangement does better justice to the particular message of the artist than being surrounded by too many other works of art. (Image: extract of Camille Claudel‘s „L‘âge mûr“ in showroom Alte Nationalgalerie, 2025-8)
Claudel & Hoetger
It is well known that artists joined other artists and groups to get inspired. The entangled relationship between Camille Claudel and Auguste Rodin has become a special example of the tricky relationship between learning and co-creation or inspiration. The role of galerists in building a reputation for artists is less well understood. The “Alte Nationalgalerie“ in Berlin opens up this black box a bit through juxtaposition of Camille Claudel, Bernhard Hoetger as disciples of Auguste Rodin. The influences are rather obvious, yet each disciple developed her/his unique style. The emancipation was not without frictions. The galerist Eugène Blot organized a joint exposition of both disciples in 1905 in Paris, which is partly reproduced in Berlin 2025. Great work by the curators of the exhibition Yvette Deseyve and Sintje Guericke who managed to bring together unique sculptures from 3+ museums and a great explanation of the links between the artists as well as the proximity of ateliers. (Image: view of showroom in Alte Nationalgalerie Berlin, Claudel & Hoetger 2025)
Le Brun Selfie
The great painter and decorateur of the French monarch Louis XIV was Charles Le Brun. He was careful about the way he wanted to be remembered in history. His late 17th century self portrait is exposed in the Musée Histoire de Paris Carnavalet. Rightfully put in front of elegant red “tapisserie”, the selfie is remarkable for its attention to details. The hair is drawn with high precision and not a single one seems out of place. The painter does not focus on the person in front of him, but rather on some detail next to or behind the depicted Le Brun. The dress chosen is rather an ordinary person’s one or a person devoted to his work and artistic craftsmanship. No hands, no arms, no shoulders. The sole focus is on the head or should we say the brain and facial expression. Realistic painting is probably the closest you can get to today’s selfie-mania. Le Brun’s decoration and paintings in Versailles and churches ate probably some of the most popular backgrounds of selfiies even in the 21st century.
Photographe engagée
Marie-Laure de Decker is featured in the “Musée européenne de la photographie” (MEP) as a photographer committed to capture truth in situations of conflict. She started her career with documentary photos from the Vietnam war. Rather than searching for spectacular scenes, she succeeded in her attempt to capture the more emotional and, therefore, relatable moments for her various audiences. With a firm commitment to the human in her work, the photos by Marie-Laure de Decker reach a level of extraordinary sensitivity to what it means to stay human in violent situations and even military conflict. The portraits of politicians, workers, professions and famous actors applied the same approach. Rather than days or weeks Marie-Laure de Decker spent months or years in the regions of her documentary photo series ranging from Vietnam, South Africa throughout the apartheid regime, Pinochet years of dictatorship in Chile, the 2 parts of Yemen to a prolonged stay in Chad.
The exhibition in the MEP in Paris curated by Victoria Aresheva raises awareness to the additional fact that photo journalism became an affordable profession only after specialized agencies were created that granted authorship rights to photographers, which ensured later use of their work in edited volumes as well as working for several newspapers or magazines. (Image: Marie-Laure de Decker, self-portraits, MEP Paris exhibits 2025-8).
Emotional history
The making of emotional memories of a city is an art in itself. Many cities have professional photographers who accompany all major events in a city over years. Paris has had the chance that artist photographers and film makers have contributed greatly to the emotional history of the city. Agnès Varda was such a formidable person whose images and movies moved people and allowed to share emotions about the city’s busy and diverse neighborhoods. The « Musée Histoire de Paris Carnavalet » combines an autobiographic perspective with the emotional depiction of live in Paris from the 1950s onwards into the late 20th century. (Image: Agnès Varda, 1950 self-portrait, MEP Paris).
Femmes Photographers
Paris puts 2 women photographer into the spotlight. The MEP and the Musée historique de la Ville de Paris feature a gender perspective on photography. Both photographers have a common starting point in black and white photography. Each moved on to develop their art into an additional direction later during their career. Marie-Laure de Decker shifted from the early camera technology from black and white images to color photography in the later stages of her career. Agnès Varda moved from her initial b/w photographic work on to the production of videos for cinema, mainly focused on life in Paris from the early 1960s onwards. An evolution over the professional life becomes evident for both through these retrospectives of their respective work. Technologies evolved and became more accessible for artists’ creative expression. Both moved on to adopt new techniques and challenges. Great personal learning experiences and models for today’s challenges.
(Image Marie-Laure de Decker, L’image comme engagement 2025-8 MEP Paris).
Gentileschi Heroine
The choice of a woman as heroine in a painting beyond religious topics was innovative in the early 17th century. Artemisia Gentileschi chose Cleopatra as her character in the ultimate scene of Cleopatra‘s life. The heroic act of guiding the poisonous snake to bite her under her arm is the ultimate act of Cleopatra to have served her country and people. As history books are full of male heros Artemisia Gentileschi succeeded in drawing attention to the biased gender stereotypes in art and art history beyond the 17th century.
Gentileschi Selfie
Today the production of „selfies“ is all around us. Selfies are shot almost instantaneously and several times a day by use of modern smartphones. About 400 years ago the first woman to produce a selfie was Artemisia Gentileschi. As (one of) the first female painter in art history to have created a painted image of herself (which is transmitted today) Artemisia Gentileschi made history. Her unique biography, style and craftsmanship of the early 17th century in Italy made herself a renowned painter. Her choice to depict herself rather than somebody nobel or rich was quite unusual for the time. The audacious choice of herself as her „sujet“ became even her trademark. Later paintings by her with biblical topics were also subject to her reinterpretation based on herself as the female character in the narrative and image. In this respect her work appears so much ahead of her time that her impressive work speaks to all generations today. (Image: extract of Jael and Sisera by Artemisia Gentileschi 1620, Musée Jaquemart André“ in Paris 2025-8)
Gentileschi Iconologia
Ever since the publication of Cesare Ripa’s „Iconologia“ (1593) the codes of art had become subject of a coded production and interpretation of art. Attributes of power or wealth like palms, scepters or crowns, decorated with gold and diamonds spoke a language easily understood by onlookers irrespective of time periods. Orazio and his daughter Artemisia applied this Iconologia throughout their work. The apparently simple depiction of bad weather became a sign of trouble ahead in a person‘s life, office or reign. From the success of Caravaggio‘s paintings, the application of light and shadow became another stylistic feature of especially Artemisia‘s work. Whereas the application of these techniques is a sign of craftsmanship, the own contributions like a more emotional and emancipatory repertoire of Artemisia make her an artist of her own kind. (Image Artemisia Gentileschi, Madelaine pénitante 1625, Musée Jacquemart André“ in Paris 2025-8)
