Marjorie Och

University of Mary Washington, Art History, Emerita, Faculty Member

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Address: Fredericksburg, Virginia, United States

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Articles by Marjorie Och

Meant to be looked at, works by Margaret Sutton and Alfred Levitt,

Catalogue essays for exhibition, Meant to be looked at, works by Margaret Sutton and Alfred Levit... more

"Untitled": Into the Mind of Margaret Sutton

Catalogue essays for exhibition, "Untitled": Into the Mind of Margaret Sutton, Phyllis Ridderhof ... more

Margaret's Menagerie: The Animal Imagery of Margaret Sutton

Catalogue essays for exhibition, Margaret's Menagerie: The Animal Imagery of Margaret Sutton, Phy... more

“...what the mind and senses conceive...Margaret Sutton”

Catalogue essay for exhibition, “...what the mind and senses conceive...” Margaret Sutton, Conver... more

“Margaret Sutton: Face to Face”

Catalogue essay for exhibition, Margaret Sutton: Face to Face, Convergence Gallery of Simpson Lib... more

“Margaret Sutton: Life + Art”

Catalogue essay for exhibition, Margaret Sutton: Life + Art, UMW Galleries, April 19-June 29, 2017

Marjorie Och, Lily Cox Richard: The Stand (Possessing Powers), exhibition catalogue essay

Lily Cox-Richard: The Stand (Possessing Powers), 2015

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Marjorie Och, To err is human; to color, divine. https://www.theartsection.com/to-err-is-human-to-color-divine

The Art Section, 2017

Marjorie Och, Margaret Sutton: Life & Art, catalogue for an exhibition at UMW Galleries, April-June 2017.

Marjorie Och, "Venice and the Perfection of the Arts," in The Ashgate Research Companion to Giorgio Vasari, ed. David Cast. Aldershot, Hampshire, England: Ashgate, 2014.

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Marjorie Och, “Vittoria Colonna in Giorgio Vasari’s Life of Properzia de’ Rossi,” in Wives, Widows, Mistresses, and Nuns in Early Modern Italy, ed. Katherine McIver. Aldershot, Hampshire, England: Ashgate, 2011.

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Marjorie Och, “Portrait Medals of Vittoria Colonna: Representing the Learned Woman,” in Women as Sites of Culture: Women’s Roles in Cultural Formation from the Renaissance to the 20th Century, ed. Susan Shifrin, pp. 153-66. Aldershot, Hampshire, England: Ashgate, 2002.

Reprinted in Literature Criticism from 1400 to 1800, pp. 30-36, ed. Lawrence J. Trudeau. Farmingt... more

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Marjorie Och, “Vittoria Colonna and the Commission for a Mary Magdalen by Titian,” in Beyond Isabella: Secular Women Patrons in Renaissance Italy, eds. S. Reiss and D. Wilkins, pp. 193-223. Kirksville, MO: Truman State University Press, 2001; reprinted 2002.

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Encyclopedia Entries by Marjorie Och

Marjorie Och, “Fine Arts: Overview,” Routledge International Encyclopedia of Women’s Studies, vol. 2 of 4, pp. 865-69, eds. Cheris Kramarae and Dale Spender, New York: Routledge, 2000.

Marjorie Och, essays on Vittoria Colonna, Raffaello dal Colle, Andrea di Giovanni Feltrini. The Dictionary of Art, ed. Jane Turner. London: Grove’s Dictionaries, Inc./Macmillan, 1996; reprinted in Encyclopedia of Italian Renaissance and Mannerist Art, 2 vols., ed. Jane Turner; revised, 2000.

Marjorie Och, essays on Palazzo Farnese, Rome; Palazzo Vecchio, Florence; the Cathedral Complex, Pisa; Sta. Maria degli Angeli, Rome; San Miniato al Monte, Florence; Francesco Primaticcio; The International Dictionary of Architects and Architecture. Detroit: St. James Press, 1993.

Exhibition Reviews by Marjorie Och

Marjorie Och, review of Michelangelo: Divine Draftsman and Designer, Metropolitan Museum of Art

SECAC Art Inquiries, 2018

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Marjorie Och, review of Artemisia Gentileschi e il suo tempo, Museo di Roma, Palazzo Braschi, Rome, Italy, November 30, 2016-May 7, 2017

SECAC Art Inquiries, 2017

Please note: The editor and publisher omitted footnotes. Please see attached errata. Thank you.

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Marjorie Och, "Violence and Virtue: Artemisia Gentileschi’s ‘Judith Slaying Holofernes,’ Art Institute of Chicago, October 17, 2013-January 9, 2014," catalogue by Eve Straussman-Pflanzer, The Woman’s Art Journal 35/2 (2014): 63-64.

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Marjorie Och, “Michelangelo’s David-Apollo, National Gallery of Art, Washington, D.C., December 13, 2012-March 7, 2013,” SECAC Review 16/4 (2014): 511-14.

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Meant to be looked at, works by Margaret Sutton and Alfred Levitt,

Catalogue essays for exhibition, Meant to be looked at, works by Margaret Sutton and Alfred Levit... more

"Untitled": Into the Mind of Margaret Sutton

Catalogue essays for exhibition, "Untitled": Into the Mind of Margaret Sutton, Phyllis Ridderhof ... more

Margaret's Menagerie: The Animal Imagery of Margaret Sutton

Catalogue essays for exhibition, Margaret's Menagerie: The Animal Imagery of Margaret Sutton, Phy... more

“...what the mind and senses conceive...Margaret Sutton”

Catalogue essay for exhibition, “...what the mind and senses conceive...” Margaret Sutton, Conver... more

“Margaret Sutton: Face to Face”

Catalogue essay for exhibition, Margaret Sutton: Face to Face, Convergence Gallery of Simpson Lib... more

“Margaret Sutton: Life + Art”

Catalogue essay for exhibition, Margaret Sutton: Life + Art, UMW Galleries, April 19-June 29, 2017

Marjorie Och, Lily Cox Richard: The Stand (Possessing Powers), exhibition catalogue essay

Lily Cox-Richard: The Stand (Possessing Powers), 2015

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Marjorie Och, To err is human; to color, divine. https://www.theartsection.com/to-err-is-human-to-color-divine

The Art Section, 2017

Marjorie Och, Margaret Sutton: Life & Art, catalogue for an exhibition at UMW Galleries, April-June 2017.

Marjorie Och, "Venice and the Perfection of the Arts," in The Ashgate Research Companion to Giorgio Vasari, ed. David Cast. Aldershot, Hampshire, England: Ashgate, 2014.

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Reprinted in Literature Criticism from 1400 to 1800, pp. 30-36, ed. Lawrence J. Trudeau. Farmingt... more

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Marjorie Och, “Fine Arts: Overview,” Routledge International Encyclopedia of Women’s Studies, vol. 2 of 4, pp. 865-69, eds. Cheris Kramarae and Dale Spender, New York: Routledge, 2000.

Marjorie Och, review of Michelangelo: Divine Draftsman and Designer, Metropolitan Museum of Art

SECAC Art Inquiries, 2018

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Marjorie Och, review of Artemisia Gentileschi e il suo tempo, Museo di Roma, Palazzo Braschi, Rome, Italy, November 30, 2016-May 7, 2017

SECAC Art Inquiries, 2017

Please note: The editor and publisher omitted footnotes. Please see attached errata. Thank you.

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Marjorie Och, “Michelangelo’s David-Apollo, National Gallery of Art, Washington, D.C., December 13, 2012-March 7, 2013,” SECAC Review 16/4 (2014): 511-14.

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Marjorie Och, “Elpida Hadzi-Vasileva, Silentio Pathologia: Macedonia at the 55th Venice Biennale,” The Art Section 7/6 (2013). https://www.theartsection.com/silentio-pathologia

Marjorie Och, "A Year of Feminist Art," SECAC Review 15/3 (2008): 373-77.

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Marjorie Och, “Italian Women Artists from Renaissance to Baroque, National Museum of Women in the Arts, March16-July 15, 2007,” Early Modern Women: An Interdisciplinary Journal 2 (2007): 193-97.

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Marjorie Och, review of Artemisia Gentileschi and Feminism in Early Modern Europe. Mary D. Garrard. London: Reaktion Books, 2020. 320 pp. 65 color + 4 b/w illustrations. $22.50. ISBN 978-1-78914-202-0

Early Modern Women: An Interdisciplinary Journal

friendships with both men and women, as conveyed in her correspondence, call into question the lo... more friendships with both men and women, as conveyed in her correspondence, call into question the logic of a fabricated identity. One wonders who among her adoring clientele and fellow artists would have been fooled by it? At the end of the sixth chapter, titled "The Single Woman, the Spinster," the author uses the term "emancipated" (245). That might have been a better way to cast, or color, Carriera from the start. But of course perfect resemblance in a monographic study of a historical figure is as ephemeral as it is in a painted portrait, especially given the wonderfully complex person Carriera seems to have been. For the record, the text would have benefited from an editorial once-over to correct small things like printing errors or an incorrect name (Pierre Gobert, not Cobert, p. 178). They speak only of haste and do no undercut this solid, committed investigation of a fascinating artist. Angela Oberer has produced a study that is enjoyable to read, that is thoughtful and informative, and that is fully engaged with both historical materials and a wide array of scholarly sources. Carriera has regularly appeared in studies of women artists, but the construction of her celebrity in the eighteenth century has rarely been explored so thoroughly.

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Marjorie Och, review of Renaissance Woman: The Life of Vittoria Colonna by Ramie Targoff

The Catholic Historical Review, 2018

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Marjorie Och, review of Artemisia Gentileschi in a Changing Light, ed. by Sheila Barker

Early Modern Women, 2019

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Marjorie Och, review of The Advancing Women Artists Foundation, and: Women Artists in the Age of Medici

Early Modern Women, 2017

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Marjorie Och, review of Jesse M. Locker, Artemisia Gentileschi: The Language of Painting, The Woman's Art Journal, 37/1 (2016): 65-66.

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Marjorie Och, review of Maia Wellington Gahtan, Giorgio Vasari and the Birth of the Museum, caa.reviews (July 23, 2015).

Burlington: Ashgate, 2014. 296 pp.; 75 b/w ills. Cloth $109.95 (9781409456841) Marjorie Och Maia ... more Burlington: Ashgate, 2014. 296 pp.; 75 b/w ills. Cloth $109.95 (9781409456841) Marjorie Och Maia Wellington Gahtan, Director of the MA Program in Museum Studies at the Istituto Lorenzo de' Medici, Florence, Italy, brings her professional interest in museological studies to this collection of essays, Giorgio Vasari and the Birth of the Museum. Indeed, all thirteen authors demonstrate not only a deep knowledge of Giorgio Vasari but also of art collecting in the Renaissance and the exhibition of Renaissance art in the twentieth and twenty-first centuries. Many of the essays were first presented at an international conference in Florence celebrating the five hundredth anniversary of Vasari's birth, and most have long been the subject of each respective author's considerations.

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Marjorie Och, review of Rebecca Messbarger, The Lady Anatomist: The Life and Work of Anna Morandi Manzolini, The Woman's Art Journal 34/1 (2013): 62-64.

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Marjorie Och, review of Mary Garrard, Brunelleschi's Egg: Nature, Art, and Gender in Renaissance Italy, The Woman's Art Journal 33/1 (2012), 62-64.

JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, a... more JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.

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Marjorie Och, review of Andrew Ladis, Victims and Villains in Vasari's Lives, Renaissance Quarterly, 61/4 (2008): 1250-51.

Renaissance Quarterly, 2008

... Andrew Ladis&amp;#x27;s Victims and Villains in Vasari&amp;#x27;s Lives presents an a... more ... Andrew Ladis&amp;#x27;s Victims and Villains in Vasari&amp;#x27;s Lives presents an account of the downtrodden, the rebellious, the lazy, the half-defeated ... The Lives of such antiheroes as Buonamico Buffalmaco,Andrea del Castagno, and Baccio Bandinelli, as related by Vasari, offer a literary ...

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Marjorie Och, review of Gabriele Guercio, Art as Existence: The Artist's Monograph and Its Project, Renaissance Quarterly 60/3 (2007), 919-21.

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Marjorie Och, review of Carlo Maria Simonetti, La Vita delle ‘Vite’ Vasariane: Profilo storico di due edizioni, Accademia Toscana di Scienze e Lettere “La Colombaria” Studi 230, Renaissance Quarterly 60/1 (2007): 167-69.

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Marjorie Och, review of Norma Broude and Mary D. Garrard, editors, Reclaiming Female Agency: Feminist Art History After Postmodernism, SECAC Review 15/1 (2006): 49-51.

s anthologies. Feminism and Art History: Questioning the Litany of 1982 and The Expanding Discour... more s anthologies. Feminism and Art History: Questioning the Litany of 1982 and The Expanding Discourse: Feminism and Art History of ten years later. These collections offered important alternatives to traditional art history textbooks. The articles served as models for our own research both in terms of content as well as methodology. We went on to use them in our classrooms, where they inspire a new generation of students for whom feminism is a historicaland often disturbing -phenomenon. It is important here to contextualize these anthologies within the classroom, now perhaps the primary ground for our rereading of the essays. The articles -written before most of our students were born -can be used today as evidence of how our discipline grew in the last decades of the twentieth century. The two anthologies act as "proof" that women artists and patrons are recent and contested additions to our studies, that images of women and representations of the female form are not mere depictions of beauty, and that the language of art and art history as it has developed in the West is neither neutral nor universal. Our discipline has, indeed, benefited from our frequent return to the contributions made by the many and varied authors in these anthologies.

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Marjorie Och, review of Caroline P. Murphy, Lavinia Fontana: A Painter and Her Patrons in Sixteenth-century Bologna, Southeastern College Art Conference Review 14/4 (2004): 354-357.

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Marjorie Och, review of Diane Wolfthal, Images of Rape: The “Heroic” Tradition and its Alternatives, caa.reviews (2003).

Marjorie Och, review of Debra Pincus, ed., Small Bronzes in the Renaissance, Studies in the History of History of Art, 62, Center for Advanced Studies in the Visual Arts, Symposium Papers XXXIX, The Sixteenth Century Journal 34/4 (2003): 1269-71.

The Sixteenth Century Journal, 2003

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Marjorie Och, review of David Franklin, Painting in Renaissance Florence, 1500-1550, SECAC Review 14/3 (2003): 233-36.

BOOK REVIEWS cellent book. The author is always respectful and helpful to her reader. Every word ... more BOOK REVIEWS cellent book. The author is always respectful and helpful to her reader. Every word or phrase that might potentially be unfamiliar or confusing, especially to a student reader-e.g., juste milieu, facture, femme fatale, drame bourgeois, Phrygian cap-is translated if necessary and defined within the textual presentation. Twenty-nine "boxes" also appear within the text, each providing further information on related historical events and political circumstances (Napoleonic battles, German states and free cities), artistic techniques (etching, pastel, wood engraving), or cultural trends (Girtin and the vogue for the painted panorama, women's fashions and women's journals). A detailed time-line, glossary, and extensive bibliography of English-language sources, as well as films and videos, appear at the book's conclusion. Given the exemplary clarity of Petra Chu's analysis and writing, the thoroughness of her coverage, and the varied interpetive perspectives she employs that combine to yield a rich contextual account, Nineteenth-Century European Art is a deeply rewarding text of great value to students, general adult readers, and professional art historians alike.

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Marjorie Och, review of Deborah Howard, Venice and the East: The Impact of the Islamic World on Venetian Architecture, 1100-1500, The Sixteenth Century Journal 33/3 (2002): 935-37.

Sixteenth Century Journal, 2001

Book Rcviecw's 935 divided into two maijor sections.The first four chapters are oriented toward a... more Book Rcviecw's 935 divided into two maijor sections.The first four chapters are oriented toward an examiiinatioll of the factors and forces that shaped the visionls of Romile. Frencic visitors interfaced with the physical ruins and fragcnits of classical Romie. includinig extant classical texts and guidebooks. A compelling argumeit McGowani advances is that Frencli visitors came to Romile with prcconceived visions obtained froml reading classical authors, like Virgil, Ovid, and Cicero, and coniteniporary guidebooks. Classical writers stressed the grandeur and greatness of Romile as well as its enduring power and teleological destiny. Contemilporary guidebooks often transmitted these classical ideas of a superior Romile unichialleniged in spite of the evidence of ruinis and fragments. doctimenting the destrtictioni and decay of Romlie. Whereas the first fotir chapters trace the reconstitutioni and resuscitationi of tie greatness of classical Romile froml the various perspectives of Reniaissanice architects, engravers, artists, and poets, the last four chapters build on these mnultiple visions only to illustrate the tranisference of the greatness of Romlie to sixteenth-ceuntry France. The efforts documiienited in the first section of the book, for instanice that of Frencih princes anllipulating classical Romian imilages and artifacts to increase their owIn power antd status at homlie, are critiqued

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Marjorie Och, review of Mary Rogers, ed., Fashioning Identities in Renaissance Art, introduction by Joanna Woods-Marsden, The Sixteenth Century Journal 32/3 (2001): 786-88.

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“Vittoria Colonna: Art Patronage and Religious Reform in Sixteenth-Century Rome,” Bryn Mawr College, 1993

Ph.D., Art History, Bryn Mawr College, 1993

Marjorie Och, Vittoria Colonna and Michelangelo on the Quirinal Hill in Rome

V Jornadas Internacionales de Investigación Arte, Poder y Género, Murcia, Spain, April 28-29, 2022. https://www.um.es/en/web/jornadas-artepoderygenero/inicio, 2022

UMW Great Lives 2022: Vincent Van Gogh

https://vimeo.com/664362749?embedded=true&source=vimeo_logo&owner=5008500

UMW Great Lives 2021: Artemisia Gentileschi

https://vimeo.com/503084036/d98b13ee8d

Andrew Ladis. Victims and Villains in Vasari's Lives. Chapel Hill: University of North Carolina Press, 2008. x + 160 pp. index. illus. bibl. $35. ISBN: 978–0–8078–3132–8

Renaissance Quarterly, 2008

Andrew Ladis's Victims and Villains in Vasari's Lives presents an account of "the downtrodden, th... more Andrew Ladis's Victims and Villains in Vasari's Lives presents an account of "the downtrodden, the rebellious, the lazy, the half-defeated, the self-delusional, the victimized, and the villainous" (x) in Giorgio Vasari's Lives of the Artists (1550, 1568). The Lives of such antiheroes as Buonamico Buffalmaco, Andrea del Castagno, and Baccio Bandinelli, as related by Vasari, offer a literary counterpoint-a narrative tension-necessary for highlighting the accomplishments of the heroes of Vasari's work, and Ladis focuses here on Giotto, Domenico Veneziano, and Michelangelo. These six artists, and numerous others, are paired by Ladis as a way of understanding Vasari's message about the production and appreciation of art, and most poignantly that those who make art are very human and subject to human drives, ambitions, virtues, and vices. Giotto and his frescoes in the Arena Chapel offer a kind of basso continuo in Ladis's text. For example, in his discussion of Bandinelli-for Vasari, not only an antihero but an antichrist in contrast to the "divine" Michelangelo, savior of the arts-Ladis points to Giotto's Vices in the Arena Chapel to suggest the depth of tradition on which both Giotto and Vasari relied. Ladis uses these figures to illustrate Vasari's account of Bandinelli's destruction and "shredding" of Michelangelo's Battle of Cascina cartoon: Bandinelli embodies Envy with her fingers "worn down to mere stubs," and Injustice with "talons and fangs" (121). Vasari does not discuss any work in the Arena Chapel, and Ladis's many references to them-in a book about Vasari's text-are curious. But Vasari recognized the power of language to aid a reader's visualization of an image, and this may be Ladis's aim in the parallels he draws between the Arena Chapel and Bandinelli's character. Vasari's individual Lives ultimately emphasize the greatness of Michelangelo. And it is for this reason, according to Ladis, that Vasari adds the Life of Bandinelli to the 1568 edition, a much expanded and thematically grander endeavor than the 1550 publication. For Ladis, the Life of Bandinelli (one of the longest) is a morality tale that sets up the salvation of art by the "divine" Michelangelo. Vasari's discussion of Bandinelli's tomb is particularly telling of Vasari's description of his contemporary and rival. The tomb consists of two figures, a recumbent Dead Christ supported by Nicodemus, whose face is a portrait of Bandinelli. Vasari describes the work as having been begun and brought to near completion by Bandinelli's son, Clemente, before his departure for Rome, where he died shortly

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Feltrini, Andrea (di Giovanni di Lorenzo)

Oxford Art Online, 2003

Colle, Raffaello [Raffaellino] (di Michelangelo di Luca) dal

Oxford Art Online, 2003

Colonna, Vittoria, Marchesa di Pescara

Oxford Art Online, 2003

Marjorie Och

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