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I was very nearly all three of these (plus Sachiko because my mother was reading a lot about Japan when she was pregnant with me) but ultimately was called "Allegra" (with the Italian spelling) because that is what my mother said seemed to suit me best when she first looked at me.

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I'm inspired by many...but this one came to mind today...

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I'm inspired by many...but this one came to mind today...

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Artemisia Lomi or Artemisia Gentileschi (, Italian: [arteˈmiːzjadʒentiˈleski]; 8 July 1593 - c. 1656) was an Italian Baroque painter. Gentileschi is considered among the most accomplished seventeenth-century artists, initially working in the style of Caravaggio. She was producing professional work by the age of 15. In an era when women had few opportunities to pursue artistic training or work as professional artists, Gentileschi was the first woman to become a member of the Accademia di Arte del Disegno in Florence and she had an international clientele.

Many of Gentileschi's paintings feature women from myths, allegories, and the Bible, including victims, suicides, and warriors. Some of her best known subjects are Susanna and the Elders (particularly the 1610 version in Pommersfelden), Judith Slaying Holofernes (her 1614-1620 version is in the Uffizi gallery), and Judith and Her Maidservant (her version of 1625 is in the Detroit Institute of Arts).

Gentileschi was known for being able to depict the female figure with great naturalism and for her skill in handling colour to express dimension and drama.

Her achievements as an artist were long overshadowed by the story of Agostino Tassi raping her when she was a young woman and Gentileschi being tortured to give evidence during his trial. For many years Gentileschi was regarded as a curiosity, but her life and art have been reexamined by scholars in the 20th and 21st centuries. She is now regarded as one of the most progressive and expressive painters of her generation, with the recognition of her talents exemplified by major exhibitions at internationally esteemed fine art institutions, such as the National Gallery in London.

Artemisia Lomi Gentileschi was born in Rome on 8 July 1593, although her birth certificate from the Archivio di Stato indicates she was born in 1590. She was the eldest child of Prudenzia di Ottaviano Montoni and the Tuscan painter Orazio Gentileschi. Orazio Gentileschi was a painter from Pisa. After his arrival in Rome, his painting reached its expressive peak, taking inspiration from the innovations of Caravaggio, from whom he derived the habit of painting real models, without idealising or sweetening them, instead transfiguring them into figures of powerful and realistic drama.

Baptised two days after her birth in the church of San Lorenzo in Lucina, Artemisia was primarily raised by her father following the death of her mother in 1605. It was likely at this time that Artemisia approached painting: introduced to painting in her father's workshop, Artemisia showed much more enthusiasm and talent than her brothers, who worked alongside her. She learned drawing, how to mix colour, and how to paint. By 1612, aged 18, Artemisia was known for her exemplary talents, with her father boasting that, despite having only practised painting for three years, Artemisia was peerless.

During this early period of her life, Artemisia took inspiration from her father's painting style, which had in turn been heavily influenced by the work of Caravaggio. Artemisia's approach to subject matter was different from that of her father, however, taking a highly naturalistic approach over her father's comparatively idealised works.

Her earliest surviving work, completed aged 17, is Susanna and the Elders (1610, Schönborn collection in Pommersfelden). The painting depicts the Biblical story of Susanna. The painting shows how Artemisia assimilated the realism of and effects used by Caravaggio without being indifferent to the classicism of Annibale Carracci and the Bolognese School of Baroque style.

Salome with the Head of Saint John the Baptist, c. 1610-1615, Budapest

In 1611, Orazio was working with Agostino Tassi to decorate the vaults of Casino delle Muse inside the Palazzo Pallavicini-Rospigliosi in Rome. One day in May, Tassi visited the Gentileschi household and, when alone with Artemisia, raped her. Another man, Cosimo Quorli, played a part in the rape. A female friend of Gentileschi, Tuzia, was present during the rape, but refused to help her.

With the expectation that they would marry in order to restore her virtue and secure her future, Artemisia started to have sexual relations with Tassi, but he reneged on his promise to marry her. Nine months after the rape, when he learned that Artemisia and Tassi were not going to be married, her father Orazio pressed charges against Tassi. The major issue of the trial was the fact that Tassi had violated the Gentileschi family's honor, and charges were not pressed for violating Artemisia.

During the ensuing seven-month trial, it was discovered that Tassi had planned to murder his wife, had engaged in adultery with his sister-in-law, and planned to steal some of Orazio's paintings. At the end of the trial, Tassi was exiled from Rome, although the sentence was never carried out. During the trial, Artemisia was tortured with thumbscrews for the purpose of verifying her testimony.

After her mother died, Artemisia had been surrounded mainly by males. When she was 17, Orazio rented the upstairs apartment of their home to a female tenant, Tuzia. Artemisia befriended Tuzia; however, Tuzia allowed Agostino Tassi and Cosimo Quorli to visit Artemisia in Artemisia's home on multiple occasions. The day the rape occurred, Artemisia cried out to Tuzia for help, but Tuzia simply ignored Artemisia and pretended she knew nothing of what happened. Art historian Jeanne Morgan Zarucchi compared Tuzia's betrayal and role in facilitating the rape to the role of a procuress who is complicit in the sexual exploitation of a prostitute.

A painting entitled Mother and Child, discovered in Crow's Nest, Australia in 1976, may or may not have been painted by Gentileschi. Presuming that it is her work, the baby has been interpreted as an indirect reference to Agostino Tassi, her rapist, as it dates to 1614, just two years after the rape. It depicts a strong and suffering woman and casts light on her anguish and expressive artistic capability.

Florentine period (1612-1620)

A month after the trial, Orazio arranged for his daughter to marry Pierantonio Stiattesi, a modest artist from Florence. Shortly afterward the couple moved to Florence. The six years she spent in Florence would be decisive both for Artemisia's family life and professional career. Artemisia became a successful court painter, enjoying the patronage of the House of Medici, and playing a significant role in courtly culture of the city.

Artemisia's career as an artist was very successful in Florence. She was the first woman accepted into the Accademia delle Arti del Disegno (Academy of the Arts of Drawing). She maintained good relations with the most respected artists of her time, such as Cristofano Allori, and was able to garner the favour and the protection of influential people, beginning with Cosimo II de' Medici, Grand Duke of Tuscany, and especially of the Grand Duchess, Christina of Lorraine. Her acquaintance with Galileo Galilei, evident from a letter she wrote to the scientist in 1635, appears to stem from her Florentine years; indeed it may have stimulated her depiction of the compass in the Allegory of Inclination.

Her involvement in the courtly culture of Florence not only provided access to patrons, but it widened her education and exposure to the arts. She learned to read and write and became familiar with musical and theatrical performances. Such artistic spectacles helped Artemisia's approach to depicting lavish clothing in her paintings: "Artemisia understood that the representation of biblical or mythological figures in contemporary dress... was an essential feature of the spectacle of courtly life."

In 1615, she received the attention of Michelangelo Buonarroti the Younger (a younger relative of Michelangelo). Busy with the construction of the Casa Buonarroti to celebrate his noted great uncle, he asked Artemisia-along with other Florentine artists, including Agostino Ciampelli, Sigismondo Coccapani, Giovan Battista Guidoni, and Zanobi Rosi-to contribute a painting for the ceiling. Artemisia was then in an advanced state of pregnancy. Each artist was commissioned to present an allegory of a virtue associated with Michelangelo, and Artemisia was assigned the Allegory of Inclination. In this instance, Artemisia was paid three times more than any other artist participating in the series. Artemisia painted her commission in the form of a nude young woman holding a compass. Her painting is located on the Galleria ceiling on the second floor. It is believed that the subject bears a resemblance to Artemisia. Indeed, in several of her paintings, Artemisia's energetic heroines appear to be self-portraits.

Other significant works from this period include La Conversione della Maddalena ( The Conversion of the Magdalene), Self-Portrait as a Lute Player (in the collection of the Wadsworth Atheneum Museum of Art), and Giuditta con la sua ancella ( Judith and her Maidservant), now in the Palazzo Pitti. Artemisia painted a second version of Judith beheading Holofernes, which now is housed in the Uffizi Gallery of Florence. Her first Judith Beheading Holofernes (1612-13), smaller in size, is displayed in the Museo di Capodimonte, Naples. In fact, she was fascinated with this subject and six variations of Judith Beheading Holofernes by Artemisia are known to exist.

Self portrait as Saint Catherine of Alexandria, 1619

While in Florence, Artemisia and Pierantonio had five children. Giovanni Battista, Agnola, and Lisabella did not survive for more than a year. Their second son, Cristofano, died at the age of five after Artemisia had returned to Rome. Only Prudentia survived into adulthood. Prudentia was also known as Palmira, which has led some scholars to conclude erroneously that Artemisia had a sixth child. Prudentia was named after Artemisia's mother. It is known that Artemisia's daughter was a painter and was trained by her mother, although nothing is known of her work.

In 2011, Francesco Solinas discovered a collection of thirty-six letters, dating from about 1616 to 1620, that add startling context to the personal and financial life of the Gentileschi family in Florence. They show that Artemisia had a passionate love affair with a wealthy Florentine nobleman, named Francesco Maria Maringhi. Her husband, Pierantonio Stiattesi, was well aware of their relationship and he maintained a correspondence with Maringhi on the back of Artemisia's love letters. He tolerated it, presumably because Maringhi was a powerful ally who provided the couple with financial support. However, by 1620, rumours of the affair had begun to spread in the Florentine court and this, combined with ongoing legal and financial problems, led the couple to relocate to Rome.

Return to Rome (1620-1626/27)

Just as with the preceding decade, the early 1620s saw ongoing upheaval in Artemisia Gentileschi's life. Her son Cristofano died. Just as she arrived in Rome, her father Orazio departed for Genoa. Immediate contact with her lover Maringhi appeared to have lessened. By 1623, any mention of her husband disappears from any surviving documentation.

Her arrival in Rome offered the opportunity to cooperate with other painters and to seek patronage from the wide network of art collectors in the city, opportunities that Gentileschi grasped. One art historian noted of the period, "Artemisia's Roman career quickly took off, the money problems eased". Large-scale papal commissions were largely off-limits, however. The long papacy of Urban VIII showed a preference for large-scale decorative works and altarpieces, typified by the baroque style of Pietro da Cortona. Gentileschi's training in easel paintings, and perhaps the suspicion that women painters did not have the energy to carry out large-scale painting cycles, meant that the ambitious patrons within Urban's circle commissioned other artists.

But Rome hosted a wide range of patrons. Spanish resident, Fernando Afan de Ribera, the 3rd Duke of Alcala, added her painting of the Magdalen and David, Christ Blessing the Children to his collection. During the same period she became associated with Cassiano dal Pozzo, a humanist and a collector and lover of arts. Dal Pozzo helped to forge relationships with other artists and patrons. Her reputation grew. The visiting French artist Pierre Dumonstier II produced a black and red chalk drawing of her right hand in 1625.

The variety of patrons in Rome also meant a variety of styles. Caravaggio's style remained highly influential and converted many painters to following his style (the so-called Caravaggisti), such as Carlo Saraceni (who returned to Venice in 1620), Bartolomeo Manfredi, and Simon Vouet. Gentileschi and Vouet would go on to have a professional relationship and would influence each other's styles. Vouet would go on to complete a portrait of Artemisia. Gentileschi also interacted with the Bentveughels group of Flemish and Dutch painters living in Rome. The Bolognese School (particularly during the 1621 to 1623 period of Gregory XV) also began to grow in popularity, and her Susanna and the Elders (1622) often is associated with the style introduced by Guercino.

Although it is sometimes difficult to date her paintings, it is possible to assign certain works by Gentileschi to these years, such as the Portrait of a Gonfaloniere, today in Bologna (a rare example of her capacity as portrait painter) and the Judith and her Maidservant today in the Detroit Institute of Arts. The Detroit painting is notable for her mastery of chiaroscuro and tenebrism (the effects of extreme lights and darks), techniques for which Gerrit van Honthorst and many others in Rome were famous.

Three Years in Venice (1626/27-1630)

The absence of sufficient documentation makes it difficult to follow Gentileschi's movements in the late 1620s. However, it is certain that between 1626 and 1627, she moved to Venice, perhaps in search of richer commissions. Many verses and letters were composed in appreciation of her and her works in Venice. Knowledge of her commissions during the time is vague, but her The Sleeping Venus, today in the Virginia Museum of Fine Arts, Richmond, and her Esther before Ahasuerus now in the Metropolitan Museum of Art in New York, are testaments to her assimilation of the lessons of Venetian colourism.

Naples and the English period (1630-1656)

In 1630, Artemisia moved to Naples, a city rich with workshops and art lovers, in search of new and more lucrative job opportunities. The eighteenth-century biographer Bernardo de' Dominici speculated that Artemisia was already known in Naples before her arrival. She may have been invited to Naples by the Duke of Alcalá, Fernando Enriquez Afan de Ribera, who had three of her paintings: a Penitent Magdalene, Christ Blessing the Children, and David with a Harp. Many other artists, including Caravaggio, Annibale Carracci, and Simon Vouet, had stayed in Naples at some time in their lives. At that time, Jusepe de Ribera, Massimo Stanzione, and Domenichino were working there, and later, Giovanni Lanfranco and many other artists went to the city. The Neapolitan debut of Artemisia is represented by the Annunciation in the Capodimonte Museum. With the exceptions of a brief trip to London and some other journeys, Artemisia resided in Naples for the remainder of her career.

On Saturday, March 18, 1634, the traveller Bullen Reymes recorded in his diary visiting Artemisia and her daughter, Palmira ('who also paints'), with a group of fellow-Englishmen. She had relations with many renowned artists, among them Massimo Stanzione, with whom, Bernardo de' Dominici reports, she started an artistic collaboration based on a real friendship and artistic similarities. Artemisia's work influenced Stanzione's use of colours, as seen in his Assumption of the Virgin, c. 1630. De' Dominici states that "Stanzione learned how to compose an istoria from Domenichino, but learned his coloring from Artemisia".

In Naples Artemisia started working on paintings in a cathedral for the first time. They are dedicated to San Gennaro nell'anfiteatro di Pozzuoli ( Saint Januarius in the amphitheater of Pozzuoli) in Pozzuoli. During her first Neapolitan period she painted the Birth of Saint John the Baptist now in the Prado in Madrid, and Corisca e il satiro (Corisca and the Satyr), today in a private collection. In these paintings, Artemisia again demonstrates her ability to adapt to the novelties of the period and to handle different subjects, instead of the usual Judith, Susanna, Bathsheba, and Penitent Magdalenes, for which she already was known. Many of these paintings were collaborations; Bathsheba, for instance, was attributed to Artemisia, Codazzi, and Gargiulo.

In 1638, Artemisia joined her father in London at the court of Charles I of England, where Orazio had become court painter and received the important job of decorating a ceiling allegory of Triumph of Peace and the Arts in the Queen's House, Greenwich built for Queen Henrietta Maria. Father and daughter were working together once again, although helping her father probably was not her only reason for travelling to London: Charles I had invited her to his court. Charles I was an enthusiastic collector, willing to incur criticism for his spending on art. The fame of Artemisia probably intrigued him, and it is not a coincidence that his collection included a painting of great suggestion, the Self-Portrait as the Allegory of Painting (which is the lead image of this article).

Orazio died suddenly in 1639. Artemisia had her own commissions to fulfil after her father's death, although there are no known works assignable with certainty to this period. It is known that Artemisia had left England by 1642, when the English Civil War was just starting. Nothing much is known about her subsequent movements. Historians know that in 1649 she was in Naples again, corresponding with Don Antonio Ruffo of Sicily, who became her mentor during this second Neapolitan period. The last known letter to her mentor is dated 1650 and makes clear that she still was fully active.

In her last known years of activity she is attributed with works that are probably commissions and follow a traditional representation of the feminine in her works.

It was once believed that Artemisia died in 1652 or 1653; however, modern evidence has shown that she was still accepting commissions in 1654, although she was increasingly dependent upon her assistant, Onofrio Palumbo. Some have speculated that she died in the devastating plague that swept Naples in 1656 and virtually wiped out an entire generation of Neapolitan artists.

Some works in this period are the Susanna and the Elders (1622) today in Brno, the Virgin and Child with a Rosary today in El Escorial, the David and Bathsheba today in Columbus, Ohio, and the Bathsheba today in Leipzig.

Her David with the Head of Goliath, rediscovered in London in 2020, has been attributed by art historian Gianni Papi to Artemisia's London period, in an article published in The Burlington Magazine.

The research paper "Gentileschi, padre e figlia" (1916) by Roberto Longhi, an Italian critic, described Artemisia as "the only woman in Italy who ever knew about painting, coloring, drawing, and other fundamentals". Longhi also wrote of Judith Slaying Holofernes: "There are about fifty-seven works by Artemisia Gentileschi and 94% (forty-nine works) feature women as protagonists or equal to men". These include her works of Jael and Sisera, Judith and her Maidservant, and Esther. These characters intentionally lacked the stereotypical "feminine" traits-sensitivity, timidness, and weakness-and were courageous, rebellious, and powerful personalities (such subjects are now grouped under the name the Power of Women). A nineteenth-century critic commented on Artemisia's Magdalene stating, "no one would have imagined that it was the work of a woman. The brush work was bold and certain, and there was no sign of timidness". In Raymond Ward Bissell's view, she was well aware of how women and female artists were viewed by men, explaining why her works were so bold and defiant in the beginning of her career.

Longhi wrote:

Who could think in fact that over a sheet so candid, a so brutal and terrible massacre could happen [...] but-it's natural to say-this is a terrible woman! A woman painted all this? ... there's nothing sadistic here, instead what strikes the most is the impassibility of the painter, who was even able to notice how the blood, spurting with violence, can decorate with two drops the central spurt! Incredible I tell you! And also please give Mrs. Schiattesi-the conjugal name of Artemisia-the chance to choose the hilt of the sword! At last don't you think that the only aim of Giuditta is to move away to avoid the blood which could stain her dress? We think anyway that that is a dress of Casa Gentileschi, the finest wardrobe in Europe during 1600, after Van Dyck."

Feminist studies increased the interest in Artemisia Gentileschi, underlining her rape and subsequent mistreatment, and the expressive strength of her paintings of biblical heroines, in which the women are interpreted as willing to manifest their rebellion against their condition. In a research paper from the catalogue of the exhibition "Orazio e Artemisia Gentileschi", which took place in Rome in 2001 (and after in New York), Judith W. Mann critiques feminist opinion of Artemisia, finding that old stereotypes of Artemisia as sexually immoral have been replaced by new stereotypes established in feminist readings of Artemisia's paintings:

Without denying that sex and gender can offer valid interpretive strategies for the investigation of Artemisia's art, we may wonder whether the application of gendered readings has created too narrow an expectation. Underpinning Garrard's monograph, and reiterated in a limited way by Bissell in his catalogue raisonné, are certain presumptions: that Artemisia's full creative power emerged only in the depiction of strong, assertive women, that she would not engage in conventional religious imagery such as the Madonna and Child or a Virgin who responds with submission to the Annunciation, and that she refused to yield her personal interpretation to suit the tastes of her presumably male clientele. This stereotype has had the doubly restricting effect of causing scholars to question the attribution of pictures that do not conform to the model, and to value less highly those that do not fit the mold.

Because Artemisia returned again and again to violent subject matter such as Judith and Holofernes, a repressed-vengeance theory has been postulated by some art historians, but other art historians suggest that she was shrewdly taking advantage of her fame from the rape trial to cater to a niche market in sexually charged, female-dominated art for male patrons.

The most recent critics, starting from the difficult reconstruction of the entire catalogue of the Gentileschi, have tried to give a less reductive reading of the career of Artemisia, placing it in the context of the different artistic environments in which the painter participated. A reading such as this restores Artemisia as an artist who fought with determination-using the weapon of personality and of the artistic qualities-against the prejudices expressed against women painters; being able to introduce herself productively in the circle of the most respected painters of her time, embracing a series of pictorial genres that probably were more ample and varied than her paintings suggest.[improper synthesis? ]

Feminist interest in Artemisia Gentileschi dates from the 1970s when the feminist art historian Linda Nochlin published an article entitled " Why Have There Been No Great Women Artists?" in which that question was dissected and analysed. The article explores the definition of "great artists" and posited that oppressive institutions, not lack of talent, have prevented women from achieving the same level of recognition that men received in art and other fields. Nochlin said that studies on Artemisia and other women artists were "worth the effort" in "adding to our knowledge of women's achievement and of art history generally." According to the foreword by Douglas Druick in Eve Straussman-Pflanzer's Violence & Virtue: Artemisia's Judith Slaying Holofernes, Nochlin's article prompted scholars to make more of an attempt to "integrate women artists into the history of art and culture."

Artemisia and her oeuvre became a focus again, having had little attention in art history scholarship save Roberto Longhi's article "Gentileschi padre e figlia (Gentileschi, father and daughter)" in 1916 and Bissell's article "Artemisia Gentileschi-A New Documented Chronology" in 1968. As Artemisia and her work began to garner new attention among art historians and feminists, more literature about her, fictional and biographical, was published. A fictional account of her life by Anna Banti, wife of critic Roberto Longhi, was published in 1947. This account was well received by literary critics, but was criticized by feminists, notably Laura Benedetti, for being lenient in historical accuracy in order to draw parallels between author and artist. The first full, factual account of Artemisia's life, The Image of the Female Hero in Italian Baroque Art, was published in 1989 by Mary Garrard, a feminist art historian. She then published a second, smaller book entitled Artemisia Gentileschi around 1622: The Shaping and Reshaping of an Artistic Identity in 2001 that explored the artist's work and identity. Garrard noted that analysis of Artemisia's oeuvre lacks focus and stable categorization outside of "woman", although Garrard questions whether femaleness is a legitimate category by which to judge her art at all.

Artemisia is known for her portrayals of subjects from the Power of Women group, for example her versions of Judith Slaying Holofernes. She is also known for the rape trial in which she was involved, which scholar Griselda Pollock has argued had unfortunately become the repeated "axis of interpretation of the artist's work". Gentileschi's status in popular culture is deemed by Pollock to be due less to her work than to the sensationalism caused by the persistent focus on the rape trial during which she was tortured. Pollock offers a counter reading of the artist's dramatic narrative paintings, refusing to see the Judith and Holofernes images as responses to rape and the trial. Instead, Pollock points out that the subject of Judith and Holofernes is not a revenge theme, but a story of political courage and indeed, collaboration by two women committing a daring political murder in a war situation. Pollock seeks to shift attention from sensationalism toward deeper analysis of Gentileschi's paintings, notably of death and loss, suggesting the significance of her childhood bereavement as a source of her singular images of the dying Cleopatra. Pollock also argues that Gentileschi's success in the seventeenth century depended on her producing paintings for patrons, often portraying subjects they selected that reflected contemporary tastes and fashions. She aims to place Gentileschi's career in its historical context of taste for dramatic narratives of heroines from the Bible or classical sources.

In another vein entirely, American professor Camille Paglia has argued that modern feminist preoccupation with Artemisia is misguided and that her accomplishments have been overstated: "Artemisia Gentileschi was simply a polished, competent painter in a Baroque style created by men." Nonetheless, according to The National Gallery, Artemisia worked "in Rome, Florence, Venice, Naples, and London, for the highest echelons of European society, including the Grand Duke of Tuscany and Philip IV of Spain".

Feminist literature tends to revolve around the event of Artemisia's rape, largely portraying her as a traumatised, but noble survivor whose work became characterised by sex and violence as a result of her experience. Pollock (2006) interpreted the film by Agnès Merlet as a typical example of the inability of popular culture to look at the painter's remarkable career over many decades and in many major centres of art, rather than this one episode. A literature review by Laura Benedetti, "Reconstructing Artemisia: Twentieth Century Images of a Woman Artist", concluded that Artemisia's work is often interpreted according to the contemporary issues and personal biases of the authors. Feminist scholars, for example, have elevated Artemisia to the status of feminist icon, which Benedetti attributed to Artemisia's paintings of formidable women and her success as an artist in a male-dominated field while also being a single mother. Elena Ciletti, author of Gran Macchina a Bellezza, wrote that "The stakes are very high in Artemisia's case, especially for feminists, because we have invested in her so much of our quest for justice for women, historically and currently, intellectually and politically."

Feminist scholars suggest that Artemisia wanted to take a stand against the stereotype of female submissiveness. One example of this symbolism appears in her Corisca and the Satyr, created between 1630 and 1635. In the painting, a nymph runs away from a satyr. The satyr attempts to grab the nymph by her hair, but the hair is a wig. Here, Artemisia depicts the nymph to be quite clever and to be actively resisting the aggressive attack of the satyr.

Painters Artemisia Gentileschi and Virginia Vezzi, by Simon Vouet, Virginia's husband and Artemisia's acquaintance

For a woman at the beginning of the seventeenth century, Artemisia being a painter represented an uncommon and difficult choice, but not an exceptional one. Artemisia was aware of "her position as a female artist and the current representations of women's relationship to art." This is evident in her allegorical self portrait, Self Portrait as "La Pittura", which shows Artemisia as a muse, "symbolic embodiment of the art" and as a professional artist.

Before Artemisia, between the end of the 1500s and the beginning of 1600s, other women painters had successful careers, including Sofonisba Anguissola (born in Cremona around 1530). Later Fede Galizia (born in Milan or Trento in 1578) painted still lifes, and a Judith with the Head of Holofernes.

Italian Baroque painter Elisabetta Sirani was another female artist from this same period. Sirani's painting Allegory Painting of Clio shares a common colour scheme with Artemisia's work. Elisabetta gained considerable success before her death aged 27.

The first writer who produced a novel around the figure of Artemisia may have been George Eliot in (1862-63), where some aspects of Artemisia's story, while set in the Florence in her time, are recognisable, but much embroidered.

A later and clearer use of Artemisia's story appears in Anna Banti's Artemisia. Banti's book is written in an "open diary" format, in which she maintains a dialogue with Artemisia.

Susan Vreeland published The Passion of Artemisia (2002), a biographical novel based on her life.

She appears in Eric Flint's Ring of Fire alternate history series, being mentioned in 1634: The Galileo Affair (2004) and figuring prominently in 1635: The Dreeson Incident (2008), as well as appearing in a number of shorter stories in the 1632 universe.

The novel (2016) by L.S. Hilton includes Artemisia as a central reference for the main character, and several of her paintings are discussed.

The novel Salem's Cipher (2016) by Jess Lourey used Artemisia's painting Judith Beheading Holofernes to send a clue.

The manga Arte, set in 16th century Florence, is loosely based on Artemisia.

A fictional painting by Artemisia, The Lute Player, is a central element in Daniel Silva's 2021 espionage novel The Cellist.

A Portrait in Shadow (Titan Books, 2023) by Nicole Jarvis is a novel about Artemisia's career and revenge.

Disobedient (2023) by acclaimed novelist Elizabeth Fremantle is a feminist retelling of Artemesia's life and art, published by Penguin Books imprint Michael Joseph and Pegasus Books.

Artemisia, and more specifically her painting Judith Beheading Holofernes, are referred to in Wendy Wasserstein's play The Heidi Chronicles (1988), in which the main character, Heidi, lectures about it as part of her art history course on female painters. At the end of the play, Heidi adopts a daughter she names Judy, which is at least a partial reference to the painting.

Canadian playwright Sally Clark wrote several stage plays based on the events leading up to and following the rape of Artemisia. Life Without Instruction, commissioned by Nightwood Theatre in 1988, premiered at Theatre Plus Toronto on August 2, 1991.

Blood Water Paint, a play by Joy McCullough, was turned into the novel Blood Water Paint (2017) by the same author. Productions of the play took place in Seattle in 2015 and 2019.

Breach Theatre's It's True, It's True, It's True (2018) is a play derived from the transcripts of the trial, translated from Latin and Italian into conversational English, and was first performed at the Edinburgh Fringe Festival, where it won The Stage Edinburgh award and a Fringe First award. After touring the UK, it was then broadcast on BBC Four on 9 February 2020.

The Anthropologists, a theater company in New York City, created a solo show, Artemisia's Intent, inspired by the life of Artemisia Gentileschi.

The speculative nonfiction opera entitled Artemisia, with music by Laura Schwendinger and libretto by Ginger Strand, winner of American Academy of Arts and Letters Ives Opera Award ($50,000), the largest such award for opera. Artemisia was premiered in New York City by Trinity Wall Street in an orchestral version at St. Paul's Chapel with Christopher Alden, director and Lidiya Yankovskaya, conductor on March 7 and 9, 2019 as part of the Times Arrow Festival; and in San Francisco by the Left Coast Chamber Ensemble, June 1 and 2, 2019.

Forward Theater in Madison, Wisconsin, along with World Premiere Wisconsin, commissioned and premiered Artemisia, written by Lauren Gunderson (April 13-30, 2023).

Artemisia's life and the Judith Slaying Holofernes painting played a pivotal role in the ITV miniseries Painted Lady (1997), starring Helen Mirren.

An episode of the British television crime series (2018) depicts a series of murders inspired by Artemisia's biblical paintings of women taking vengeance on the men who harmed or abused them.

An unnamed painting by Artemisia Gentileschi is mentioned in The Crown (season 3, episode 1). Prince Philip, seeing the painting, asks Sir Anthony Blunt who the artist is, Blunt replies 'Artemisia Gentileschi', to which Philip says 'Never heard of him'. 'Her, sir,' Blunt corrects him.

The film (1997), by Agnès Merlet, tells the story of Artemisia's entry into being a professional artist, her relationship with Tassi, and the trial. Merlet exonerates Tassi of rape, however, not only by depicting their sex as loving and consensual (which was controversial when the film was released), but also by two ahistorical fabrications: Artemisia refuses under torture to say that she was raped, while Tassi falsely confesses to rape to stop Artemisia's torment.

In 2020 the documentary film Artemisia Gentileschi, Warrior Painter, directed by Jordan River, was produced.

Citations

1. Lubbock, Tom (30 September 2005), "Great Works: Judith and her Maidservant", The Independent, London, p. 30, Review section, archived from the original on 2 May 2015

2. ^ Cavazzini, Patrizia (2001). "Artemisia in Her Father's House". In Christiansen, W. Keith (ed.). Orazio and Artemisia Gentileschi. New York City: Metropolitan Museum of Art. pp. 283-295. ISBN 978-0300090772.

3. ^ Garrad, Mary D. (March 1980). "Artemisia Gentileschi's Self Portrait as the Allegory of Painting". The Art Bulletin. London, England: Taylor & Francis. 62 (1): 97-112. doi:10.1080/00043079.1980.10787729.

4. ^ Modesti, Adelina (2018). "'Il Pennello Virile': Elisabetta Sirani and Artemisia Gentileschi as Masculinized Painters?". In Barker, Shelia (ed.). Artemisia Gentileschi in a Changing Light. London, England: Harvey Miller Publishers. ISBN 978-1909400894.

5. ^ Locker, Jesse (2015). "Artemisia in the Eyes of the Neapolitan Poets". Artemisia Gentileschi: The Language of Painting. New Haven, Connecticut: Yale University Press. ISBN 978-0300185119.

6. Cavazzini (2020), p. 42

7. ^ "Right hand of Artemisia Gentileschi holding a brush. 1625 Black and red chalk", British Museum, 9 October 2016

8. Richard Spear, "I have made up my mind to take a short trip to Rome," in ^ Orazio and Artemisia Gentileschi, 335-43.

9. Locker, Jesse (2014). Artemisia Gentileschi: The Language of Painting. Yale University Press. p. 100.

10. ^ De Vito, Giuseppe (2005). "A note on Artemisia Gentileschi and Her Collaborator Onofrio Palumbo". Burlington Magazine. 1232 (137): 749.

11. ^ Papi, Gianni; Gillespie, Simon; Chaplin, Tracey D (2020). "A 'David and Goliath' by Artemisia Gentileschi rediscovered". The Burlington Magazine. 162 (1404): 188-195.

12. Benedetti, Laura (Winter 1999), "Reconstructing Artemisia, Twentieth Century Images of a Woman Artist", Comparative Literature, 51 (1): 42-46, doi:10.2307/1771455, JSTOR 1771455

13. Rozsika, Parker (1981). Old Mistresses : Women, Art, and Ideology. Pollock, Griselda. London. ISBN 0710008791. OCLC 8160325.

14. ^ Artemisia's Intent [artsandletters.org/pressrelease/2023opera/ artsandletters.org/pressrelease/2023opera/]. ;

Bissell, R. Ward (1999), Artemisia Gentileschi and the Authority of Art: Critical Reading and Catalogue Raisonné, Pennsylvania University Press, ISBN 0-271-02120-9

Christiansen, Keith; Mann, Judith W. (2001). Orazio and Artemisia Gentileschi (exhibition catatalogue). Yale University Press. ISBN 1588390063. OCLC 893698075. (also at The Metropolitan Museum of art

Cohen, Elizabeth S. (Spring 2000). "The Trials of Artemisia Gentileschi: A Rape as History". Sixteenth Century Journal. 31 (1): 47-75. doi:10.2307/2671289. JSTOR 2671289.

Cropper, Elizabeth (2020). "Artemisia Gentileschi: La Pittora". In Treves, Letizia (ed.). Artemisia. London: National Gallery.

Fortune, Jane (2009). Invisible Women (3rd ed.). Florentine Press. ISBN 978-88-902434-5-5.

Garrard, Mary D. (1989). Artemisia Gentileschi: The Image of the Female Hero in Italian Baroque Art. Princeton University Press. ISBN 978-0-691-04050-9.

Garrard, Mary D. (2001). Artemisia Gentileschi Around 1622: The Shaping and Reshaping of an Artistic Identity. Los Angeles, California: University of California Press. ISBN 978-0520228412.

Moss, Matthew (n.d.). "Distraught young mother breastfeeds her infant. Artemisia Gentileschi 1593-1653". academia.edu.

Pollock, Griselda (1999). Differencing the Canon: Feminist Desire and the Writing of Art's Histories. London and New York: Routledge.

Zarucchi, Jeanne Morgan (1998). "The Gentileschi Danaë: A Narrative of Rape". Woman's Art Journal. 19 (2): 13-16. doi:10.2307/1358400. JSTOR 1358400.

# data[].attributes.attachment_link.description
Artemisia Lomi or Artemisia Gentileschi (, Italian: [arteˈmiːzjadʒentiˈleski]; 8 July 1593 - c. 1656) was an Italian Baroque painter. Gentileschi is considered among the most accomplished seventeenth-century artists, initially working in the style of Caravaggio. She was producing professional work by the age of 15.

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Maria Garcia was 9 years old and living on the U.S.-Mexico border when Selena was murdered. Twenty five years later, Maria is on a quest to understand what it means to love, mourn and remember Selena. In this intimate journey, Maria explores what Selena's legacy shows us about belonging in America.

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I've always wanted to see the Himalayas so perhaps Leh?

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My first name comes from my great, great, great grandmother who was named Lydia Phrimmer who was from a region in Europe between the French-German border called Alsace-Lorraine. My middle name pays homage to the region -- Lorraine. I love that my parents selected a geographic/family name for me. And, I did become a Geographer! My sister also lived in the region for several years. :)

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My mother’s first name is Shirley. My name is Cheryl Lea which is meant to be similar to hers. 

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I have my mom's name

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My name is Alejandra and my dad was into Russian history and he wanted me to give me a Russian name, I would preferred Karenina! but her destiny was awful so I guess I am fine with Alejandra. You can call me Ale

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I love baking- but sometimes it looks like this:

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My grandmother, my mom's mom, chose my name: Mario Jaime.

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My grandmother, my mom's mom, chose my name: Mario Jaime.

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I am the namesake of my Aunt Karen

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# data[].attributes.subject
My parents had agreed to name me Aaron Michael Ramirez (my mother is Irish, he's from Jalisco).  After I was born and she was resting, the hospital staff handed my father the paperwork for the birth certificate.  Pride got the better of him, and I ended up being Antonio Jose Ramirez III.  

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Martha is the name I grew up with. I am named for my cousin that passed while she was a child. Her mother was my madrina. Later in life, I learned that  my first name was Maria.

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Martha is the name I grew up with. I am named for my cousin that passed while she was a child. Her mother was my madrina. Later in life, I learned that  my first name was Maria.

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My Name is Gerard. My Catholic mother named me after St. Gerard. She was half way through her pregnancy and became very ill, so much so that the doctor said if she didn't stop working she would loss me in utero. She said she prayed to St. Gerard that I'd be healthy and that of so she would name me after him. Well, here I am. haha

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I am the first in my family to be born and all my grandparents were Juan Jose as well.

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About 4 or 5 years ago, I decided to adopt my family name, CdeBaca (pronounced seh-deh-bah-kuh). It's a shortened version of Cabeza de Vaca, which some people know as the name of the former (still current?) governor of Tamaulipas, MX and others recognize as the surname of the explorer, Alvar Nuñez Cabeza de Vaca, who chronicled his shipwreck and journey across Texas, the Southwest and into Mexico in his Relación.

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From what I understand about my name, my parents wanted to stick with the "Anna" theme. My sister is Adrianna and so they decided to call me JoAnna. Oddly enough they call me Joey.

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Mi Familia

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I have a Hawaiian name given by a nurse who took care of my Mom in the hospital.

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The Coffee Bean is my Birthstone :)

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My mother is a true believer.

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This is me and my daughter few years ago on Dia de los Muertos. Alejandra Polcik

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This is me and my daughter few years ago on Dia de los Muertos. Alejandra Polcik

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So many! But Martin Luther King comes to the forefront.

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Autobiography of Malcolm X which I am currently reading.

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My middle name is the alias my father used when he crossed the border as an undocumented young man

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My middle name is the alias my father used when he crossed the border as an undocumented young man

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My mom told me when I was young that I was named after a precious gem. Years later I found out they wanted to name me Amanda Lynn, but were worried kids would make fun of me (mandolin)

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It's true!

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My mother named me after her favorite sister and Queen Anne, and she insisted it be spelled with an e on the end. 

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My mother named me after her favorite sister and Queen Anne, and she insisted it be spelled with an e on the end. 

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I am having coffee so I feel ready!  Alejandra Polcik

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I am having coffee so I feel ready!  Alejandra Polcik

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tired

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No story behind my name, but all may cousin's names begin with the letter "M"

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No story behind my name, but all may cousin's names begin with the letter "M"

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Chi Chen Itza, Yucatan Mexico

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Excited to meet our cohort 2021 of faculty and administrators.

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Excited to meet our cohort 2021 of faculty and administrators.

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I recently read Daughter of a Daughter of a Queen, by Sara Bird. Also Caramelo by Sandra Cisneros. Alejandra Polcik

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Ireland! Get to know my roots!

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mathematics / probability & statistics / general

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joseph mazur; barry mazur; history of science; history of mathematics; history; math; non-fiction; number theory; numbers; science; mathematics; history of math; counting; complex numbers; infinity; space and time; philosophy; math books; physics; maths; einstein; books for college students; gifts for college students; gifts for graduation; graduation gifts; albert einstein; math book; prime numbers; mathematical thinking; number; mathematics books; mathematics history; world history; statistics; england; reference

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mathematics / probability & statistics / general

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Buy Number: The Language of Science on Amazon.com ✓ FREE SHIPPING on qualified orders

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Film: Minari
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Sarah is a journalist obsessed with the past. Every week she reconsiders a person or event that's been miscast in the public imagination.

Sarah is a journalist obsessed with the past. Every week she reconsiders a person or event that's been miscast in the public imagination.

Love it, but I think it's run it's course...

I love this show and listen to the backlogs repeatedly, but I do think it is clear that Sarah is not interested in the "You're Wrong About" concept anymore in the more recent episodes. I still want to hear more from both Mike and Sarah. That's why I would definitely recommend "Maintenance Phase" and "You are Good," but I think it's time to have a figurative Viking funeral for this particular show.

I'm frustrated because the hosts don't explain more

I started listening to this show and I really like it, but The host act like you already know what they are talking about they don't bother to explain things from the point of view of absolutely no knowledge. I realize the point of this is that "you're wrong about" so you already know something but I'm very interested in these topics that they come up with even though I don't know anything about them. A quick little recap would be very helpful.

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Sarah is a journalist obsessed with the past. Every week she reconsiders a person or event that's been miscast in the public imagination. Sarah is a journalist obsessed with the past. Every week she reconsiders a person or event that's been miscast in the public imagination.

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Mary G. Harris Jones (1837 (baptized) - November 30, 1930), known as Mother Jones from 1897 onwards, was an Irish-born American schoolteacher and dressmaker who became a prominent union organizer, community organizer, and activist. She helped coordinate major strikes and co-founded the Industrial Workers of the World.

After Jones' husband and four children all died of yellow fever in 1867, and her dress shop was destroyed in the Great Chicago Fire of 1871, she became an organizer for the Knights of Labor and the United Mine Workers union. In 1902, she was called "the most dangerous woman in America" for her success in organizing mine workers and their families against the mine owners. In 1903, to protest the lax enforcement of the child labor laws in the Pennsylvania mines and silk mills, she organized a children's march from Philadelphia to the home of President Theodore Roosevelt in New York.

Mary G. Harris was born on the north side of Cork, the daughter of Roman Catholic tenant farmers Richard Harris and Ellen (née Cotter) Harris. Her exact date of birth is uncertain; she was baptized on 1 August 1837. Harris and her family were victims of the Great Famine, as were many other Irish families. The famine drove more than a million families, including the Harrises, to emigrate to North America when Harris was 10.

Mary was a teenager when her family emigrated to Canada. In Canada (and later in the United States), the Harris family were victims of discrimination due to their immigrant status as well as their Catholic faith. Mary received an education in Toronto at the Toronto Normal School, which was tuition-free and even paid a stipend to each student of one dollar per week for every semester completed. Mary did not graduate from the Toronto Normal School, but she was able to undergo enough training to occupy a teaching position at a convent in Monroe, Michigan, on 31 August 1859 at the age of 23. She was paid eight dollars per month, but the school was described as a "depressing place". After tiring of her assumed profession, she moved first to Chicago and then to Memphis, where in 1861 she married George E. Jones, a member and organizer of the National Union of Iron Moulders, which later became the International Molders and Foundry Workers Union of North America, which represented workers who specialized in building and repairing steam engines, mills, and other manufactured goods. Considering that Mary's husband was providing enough income to support the household, she altered her labor to housekeeping.

The loss of her husband and their four children, three girls and a boy (all under the age of five) in 1867, during a yellow fever epidemic in Memphis marked a turning point in her life. After that tragedy, she returned to Chicago to begin another dressmaking business. She did work for those of the upper class of Chicago in the 1870s and 1880s. Then, four years later, she lost her home, shop, and possessions in the Great Chicago Fire of 1871. This huge fire destroyed many homes and shops. Jones, like many others, helped rebuild the city. According to her autobiography, this led to her joining the Knights of Labor. She started organizing strikes. At first, the strikes and protests failed, sometimes ending with police shooting at and killing protesters. The Knights mainly attracted men but by the middle of the decade member numbers leaped to more than a million becoming the largest labor organization in the country. The Haymarket Affair of 1886 and the fear of anarchism and social change incited by union organizations resulted in the demise of the Knights of Labor when an unknown person threw a bomb into an altercation between the Chicago police and workers on strike. Once the Knights ceased to exist, Mary Jones became involved mainly with the United Mine Workers. She frequently led UMW strikers in picketing and encouraged striking workers to stay on strike when management brought in strike-breakers and militias. She believed that "working men deserved a wage that would allow women to stay home to care for their kids." Around this time, strikes were getting better organized and started to produce greater results, such as better pay for the workers.

Another source of her transformation into an organizer, according to biographer Elliott Gorn, was her early Roman Catholicism and her relationship to her brother, Father William Richard Harris. He was a Roman Catholic teacher, writer, pastor, and dean of the Niagara Peninsula (in St. Catharines, Ontario) in the Diocese of Toronto, who was "among the best-known clerics in Ontario", but from whom she was reportedly estranged.[page needed ] Her political views may have been influenced by the 1877 railroad strike, Chicago's labor movement, and the Haymarket Affair and depression of 1886.

Active as an organizer and educator in strikes throughout the country at the time, she was involved particularly with the UMW and the Socialist Party of America. As a union organizer, she gained prominence for organizing the wives and children of striking workers in demonstrations on their behalf. She was termed "the most dangerous woman in America" by a West Virginian district attorney, Reese Blizzard, in 1902, at her trial for ignoring an injunction banning meetings by striking miners. "There sits the most dangerous woman in America", announced Blizzard. "She comes into a state where peace and prosperity reign ... crooks her finger [and] twenty thousand contented men lay down their tools and walk out."

Jones was ideologically separated from many female activists of the pre- Nineteenth Amendment days due to her uncommittment to female suffrage. She was quoted as saying that "you don't need the vote to raise hell!" She opposed many of the activists because she believed it was more important to liberate the working class itself. When some suffragettes accused her of being anti-women's rights she clearly articulated herself, "I'm not an anti to anything which brings freedom to my class." She became known as a charismatic and effective speaker throughout her career. She was an exceptionally talented orator. Occasionally she would include props, visual aids, and dramatic stunts for effect. Her talks usually involved the relating of some personal tale in which she invariably "showed up" one form of authority or another. It is said Mother Jones spoke in a pleasant-sounding brogue which projected well. When she grew excited, her voice did not grow shrill. Instead, it dropped in pitch, and her intensity became all but palpable.

By age 60, she had assumed the persona of "Mother Jones" by claiming to be older than she was, wearing outdated black dresses and referring to the male workers that she helped as "her boys". The first reference to her in print as Mother Jones was in 1897.

"March of the Mill Children"

In 1901, workers in Pennsylvania's silk mills went on strike. Many of them were young women demanding to be paid adult wages. The 1900 census had revealed that one sixth of American children under the age of sixteen were employed. John Mitchell, the president of the UMWA, brought Mother Jones to north-east Pennsylvania in the months of February and September to encourage unity among striking workers. To do so, she encouraged the wives of the workers to organize into a group that would wield brooms, beat on tin pans, and shout "join the union!" She felt that wives had an important role to play as the nurturers and motivators of the striking men, but not as fellow workers. She claimed that the young girls working in the mills were being robbed and demoralized. The rich were denying these children the right to go to school in order to be able to pay for their own children's college tuitions.

To enforce worker solidarity, she traveled to the silk mills in New Jersey and returned to Pennsylvania to report that the conditions she observed were much better. She stated that "the child labor law is better enforced for one thing and there are more men at work than seen in the mills here." In response to the strike, mill owners also divulged their side of the story. They claimed that if the workers still insisted on a wage scale, they would not be able to do business while paying adult wages and would be forced to close. Even Jones herself encouraged the workers to accept a settlement. Although she agreed to a settlement that sent the young girls back to the mills, she continued to fight child labor for the rest of her life.

In 1903, Jones organized children who were working in mills and mines to participate in a "Children's Crusade", a march from Kensington, Philadelphia to Oyster Bay, New York, the hometown of President Theodore Roosevelt with banners demanding "We want to go to school and not the mines!"

As Mother Jones noted, many of the children at union headquarters were missing fingers and had other disabilities, and she attempted to get newspaper publicity for the bad conditions experienced by children working in Pennsylvania. However, the mill owners held stock in most newspapers. When the newspapermen informed her that they could not publish the facts about child labor because of this, she remarked "Well, I've got stock in these little children and I'll arrange a little publicity." Permission to see President Roosevelt was denied by his secretary, and it was suggested that Jones address a letter to the president requesting a visit with him. Even though Mother Jones wrote a letter asking for a meeting, she never received an answer. Though the president refused to meet with the marchers, the incident brought the issue of child labor to the forefront of the public agenda. The 2003 non-fiction book Kids on Strike! described Jones's Children's Crusade in detail.

During the Paint Creek-Cabin Creek strike of 1912 in West Virginia, Mary Jones arrived in June 1912, speaking and organizing despite a shooting war between United Mine Workers members and the private army of the mine owners. Martial law in the area was declared and rescinded twice before Jones was arrested on 13 February 1913 and brought before a military court. Accused of conspiring to commit murder among other charges, she refused to recognize the legitimacy of her court-martial. She was sentenced to twenty years in the state penitentiary. During house arrest at Mrs. Carney's Boarding House, she acquired a dangerous case of pneumonia.

After 85 days of confinement, her release coincided with Indiana Senator John W. Kern's initiation of a Senate investigation into the conditions in the local coal mines. Mary Lee Settle describes Jones at this time in her 1978 novel The Scapegoat. Several months later, she helped organize coal miners in Colorado in the 1913-1914 United Mine Workers of America strike against the Rockefeller-owned Colorado Fuel and Iron company, in what is known as the Colorado Coalfield War. Once again she was arrested, serving time in prison and inside the San Rafael Hospital, and was escorted from the state in the months prior to the Ludlow Massacre. After the massacre, she was invited to meet face-to-face with the owner of the Ludlow mine, John D. Rockefeller Jr. The meeting was partially responsible for Rockefeller's 1915 visit to the Colorado mines and introduction of long-sought reforms.

Jones remained a union organizer for the UMW into the 1920s and continued to speak on union affairs almost until she died. She released her own account of her experiences in the labor movement as The Autobiography of Mother Jones (1925). During her later years, Jones lived with her friends Walter and Lillie May Burgess on their farm in what is now Adelphi, Maryland. She celebrated her self-proclaimed 100th birthday there on 1 May 1930 and was filmed making a statement for a newsreel.

Mother Jones attempted to stop the miners' from marching into Mingo County in late August 1921. Mother Jones also visited the governor and departed assured he would intervene. Jones opposed the armed march, appeared on the line of march and told them to go home. In her hand, she claimed to have a telegram from President Warren Harding offering to work to end the private police in West Virginia if they returned home. When UMW president Frank Keeney demanded to see the telegram, Mother Jones refused and he denounced her as a 'fake'. Because she refused to show anyone the telegram she was suspected of having fabricated the story. Mother Jones refused to allow anyone to read the document, and the President's secretary denied ever having sent one. After she fled the camp, she reportedly suffered a nervous breakdown.

Mother Jones was joined by Keeney and other UMWA officials who were also pressuring the miners to go home. Although Mother Jones organized for decades on behalf of the UMWA in West Virginia and even denounced the state as 'medieval', the chapter of the same name in her autobiography, she mostly praises Governor Morgan for defending the First Amendment freedom of the labor weekly The Federationist to publish. His refusal to consent to the mine owners' request that he ban the paper demonstrated to Mother Jones that he 'refused to comply with the requests of the dominant money interests. To a man of that type, I wish to pay my respects'. Apparently Jones did not know or overlooked that Morgan had received about $1 million in campaign donations from industrialists in the 1920 election.

Mary Harris Jones died in Silver Spring, Maryland, on 30 November 1930. There was a funeral Mass at St. Gabriel's in Washington, D.C.

She is buried in the Union Miners Cemetery in Mount Olive, Illinois, alongside miners who died in the 1898 Battle of Virden. She called these miners, killed in strike-related violence, "her boys." In 1932, about 15,000 Illinois mine workers gathered in Mount Olive to protest against the United Mine Workers, which soon became the Progressive Mine Workers of America. Convinced that they had acted in the spirit of Mother Jones, the miners decided to place a proper headstone on her grave. By 1936, the miners had saved up more than $16,000 and were able to purchase "eighty tons of Minnesota pink granite, with bronze statues of two miners flanking a twenty-foot shaft featuring a bas-relief of Mother Jones at its center." On 11 October 1936, also known as Miners' Day, an estimated 50,000 people arrived at Mother Jones's grave to see the new gravestone and memorial. Since then, 11 October is not only known as Miners' Day but is also referred to and celebrated in Mount Olive as "Mother Jones's Day."[citation needed ]

According to labor historian Melvin Dubofsky:

Indeed her renown as a radical rests on a shaky historical foundation. A woman who publicly accused UMW officials of selling out their followers to the capitalist class, she negotiated amicably with John D Rockefeller. Jr., in the aftermath of the 1914 Ludlow massacre....Famous for enlisting workers' wives in the labor struggle, she opposed women's suffrage and insisted that woman's place was in the home....She was simply and essentially an individualist, one who chose to devote the last 30 years of a long life to the cause of the working-class. Her influence on the American labor movement was, however, largely symbolic: the image of a grandmotherly, staidly dressed, slightly built woman unfazed by hostile employers, their hired gunmen, or anti-labor public officials intensified the militancy workers who saw her or who heard of her deeds.

Jones uttered words still invoked by union supporters more than a century later: "Pray for the dead and fight like hell for the living." Already known as "the miners' angel" when she was denounced on the floor of the United States Senate as the "grandmother of all agitators", she replied, "I hope to live long enough to be the great-grandmother of all agitators."

During the bitter 1989-90 Pittston Coal strike in Virginia, West Virginia and Kentucky, the wives and daughters of striking coal miners, inspired by the still-surviving tales of Jones's legendary work among an earlier generation of the region's coal miners, dubbed themselves the "Daughters of Mother Jones". They played a crucial role on the picket lines and in presenting the miners' case to the press and public.

Mother Jones magazine was established in the 1970s and quickly became "the largest selling radical magazine of the decade."

Mary Harris "Mother" Jones Elementary School in Adelphi, Maryland.

Students at Wheeling Jesuit University, Wheeling, West Virginia can apply to reside in Mother Jones House, an off-campus service house. Residents perform at least ten hours of community service each week and participate in community dinners and events.

In 1984, she was inducted into the National Women's Hall of Fame.

To coincide with International Women's Day on 8 March 2010 a proposal from Councillor Ted Tynan for a plaque to be erected in Mary Harris Jones's native Cork City was passed by the Cork City Council. Members of the Cork Mother Jones Commemorative Committee unveiled the plaque on 1 August 2012 to mark the 175th anniversary of her birth. The Cork Mother Jones Festival was held in the Shandon area of the city, close to her birthplace, with numerous guest speakers. The festival now takes place annually around the anniversary and has led to growing awareness of Mother Jones's legacy and links between admirers in Ireland and the US. A new documentary, Mother Jones and her children, has been produced by Cork-based Frameworks Films and premiered at the Cork festival in 2014.

The imprisonment of "Mother" Jones is commemorated by the State of West Virginia through a Historic Highway marker. The marker was made by the West Virginia Division of Culture and History. The marker reads, "PRATT. First settled in the early 1780s and incorporated in 1905. Important site in 1912-13 Paint-Cabin Creek Strike. Labor organizer 'Mother Jones' spent her 84th birthday imprisoned here. Pratt Historic District, listed on the National Register in 1984, recognizes the town's important residential architecture from early plantation to Victorian Styles." The marker is located in the town of Pratt, right off of West Virginia 61.

In 2019, Mother Jones was inducted into the National Mining Hall of Fame.

Music and the arts

In The American Songbag, Carl Sandburg suggests that the "she" in "She'll Be Coming 'Round the Mountain" references Mother Jones and her travels to Appalachian mountain coal-mining camps promoting the unionization of the miners.

"The most dangerous woman," a spoken-word performance by indie folk singer/spoken word performer Utah Phillips with music and backing vocals added to it by indie folk artist Ani Difranco, can be found on their collaborative album Fellow Workers. The title refers to the moniker that a West Virginia District Attorney Reese Blizzard gave to Mother Jones, referring to her as "the most dangerous woman in America." Phillips performed the song "The Charge on Mother Jones." This folk song was written by William M. Rogers.

In by J.P. Martin, a train line is called Mother Jones's Siding and is rumored to be run by Mother Jones.

Through the fall of 1979 to summer 1980, the Overland Stage Company toured The Trial of Mother Jones throughout Wyoming and Colorado. The script by Roger Holzberg (with additional dialogue by Deb Scott) played in schools, community settings, and for union conferences. The middle school show was The Walsh Commission by John Murphy.

"The Spirit of Mother Jones" is a track on the 2010 Abocurragh album by Irish singer-songwriter Andy Irvine.

The title track of folk-roots duo Wishing Chair and Kara Barnard's 2002 album Dishpan Brigade is about Jones and her role in the 1899-1900 miners' strike in Arnot, Pennsylvania.

Jones is the "woman" in Tom Russell's song "The Most Dangerous Woman in America," a commentary on the troubles of striking miners that appeared on his 2009 album Blood and Candle Smoke on the Shout! Factory label.

The play The Kentucky Cycle: Fire in the Hole portrays Jones as an inspirational figure one of the other characters knew and was inspired by to go and create unions in other coal towns.

The play Can't Scare Me...the Story of Mother Jones is written and performed by actress, playwright, and professor Kaiulani Lee. It premiered at the Atlas Theater in Washington, D.C. in 2011, and Lee took the show on tour with the United Mine Workers across Colorado as well as tours in Ireland, Bangladesh, and Cambodia.

Mother Jones in Heaven is a one-woman musical written by the singer-songwriter and activist Si Kahn. It had its world premiere in Juneau, Alaska in March 2014.

Mother Jones and the Children's Crusade, a musical based on her work in Pennsylvania, debuted in July 2014 as part of the New York Musical Theatre Festival in NYC. The play starred Robin de Jesus and Lynne Wintersteller.

"Never Call Me a Lady" (Brooklyn Publishers) is a 10-minute monologue by playwright Rusty Harding, in which Mother Jones recounts her life to a fellow traveler in a Chicago train station.

Victory at Arnot is a work for chamber group and narrator by composer Eleanor Aversa. It recounts how Mother Jones assisted with the coal miners' strike in 1899-1900 in Arnot, Pennsylvania, and celebrates the power of non-violent resistance. The piece premiered in Philadelphia in 2016 and was followed by performances in Boston.

1. ^ "Mary Harris Jones". Mother Jones Commemorative committee. ... This plaque will be erected near the famous Cork Butter Market and will be unveiled on 1st August 2012 which is the 175th Anniversary of her baptism in the North Cathedral [St. Mary's Cathedral] (we have not been able to ascertain her actual date of birth but it would most likely have been a few days before this date). Her parents were Ellen Cotter, a native of Inchigeela and Richard Harris from Cork city. Few details of her life in Cork have been uncovered to date, though it is thought by some that she was born on Blarney Street and may have attended the North Presentation Schools nearby. She and her family emigrated to Canada soon after the Famine, probably in the early 1850s. ...

2. ^ Arnesen, Eric. "A Tarnished Icon", Reviews in American History 30, no. 1 (2002): 89

3. ^ Religion and Radical Politics: An Alternative Christian Tradition in the United States, Robert H. Craig, Temple University Press, Philadelphia, 1992

4. ^ Dreher, Rod (5 June 2006) All-American Anarchists Archived 29 April 2011 at the Wayback Machine, The American Conservative

5. Sandra L. Ballard; Patricia L. Hudson (18 July 2013). Listen Here: Women Writing in Appalachia. University Press of Kentucky. ISBN 978-0-8131-4358-3.

6. ^ Associated Press (1 December 1930). "Mother Jones Dies. Led Mine Workers". New York Times. 100-Year-Old [sic] Crusader in Her Time Had Headed Many All Night Marches of Strikers. Often Went To President. Lost All Her Family in Memphis Epidemic of 1867. Miners Became Her "Children." Idolized by Workers. Celebrates 100th [sic] Birthday. Mary (Mother) Jones, militant crusader for the rights of the laboring man, died at 11:55 last night at her home in near-by Maryland. She was 100 [sic] years old....

7. ^ "United States Department of Labor - Labor Hall of Fame: Mary Harris "Mother" Jones". Dol.gov. Archived from the original on 17 February 2011.

8. ^ Silas House (2009). Something's Rising: Appalachians Fighting Mountaintop Removal. University Press of Kentucky. p. 62. ISBN 9780813173412.

9. ^ Service and Social Justice ministry webpage Archived 3 February 2013 at the Wayback Machine

10. ^ Sandburg, Carl, The American Songbag, 1st edition. New York: Harcourt Brace, 1927.

Dilliard, Irving and Mary Sue Dilliard Schusky, "Mary Harris Jones," in Notable American Women 1607-1950: A Biographical Dictionary, Volume II ed. by Edward T. Wilson, (1971) pp 286-88.

Fetherling, Dale. Mother Jones, the Miners' Angel: A Portrait (1979) online

Gorn, Elliott J. (2002). Mother Jones: The Most Dangerous Woman in America. New York: Hill and Wang. ISBN 978-0809070947.

Savage, Lon (1990). Thunder in the Mountains: The West Virginia Mine War, 1920-21. Pittsburgh: University of Pittsburgh Press.

State of West Virginia (2002). Marking Our Past: West Virgnia's Historical Highway Markers. Charleston: West Virginia Division of Culture and History.

Steel, Edward M. Steel, "Mother Jones in the Fairmont Field, 1902", Journal of American History 57, Number 2 September 1970) pages 290-307.

Primary sources

Jones, Mary Harris (1925). The Autobiography of Mother Jones. Chicago: Charles H. Kerr & Co. ISBN 0-486-43645-4.

Colman, Penny (1994). Mother Jones Speaks. Brookfield, Connecticut: The Millbrook Press. ISBN 978-0873488105.

Corbin, David (2011). Gun Thugs, Rednecks, and Radicals: A Documentary History of the West Virginia Mine Wars. Oakland: PM Press.

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Mary G. Harris Jones (1837 (baptized) - November 30, 1930), known as Mother Jones from 1897 onwards, was an Irish-born American schoolteacher and dressmaker who became a prominent union organizer, community organizer, and activist. She helped coordinate major strikes and co-founded the Industrial Workers of the World.

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Ted Chiang, "Exhalation".  It gets lumped in the scifi genre, but it's deeply philosophical fiction.  And since I do philosophy...

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Ted Chiang, "Exhalation".  It gets lumped in the scifi genre, but it's deeply philosophical fiction.  And since I do philosophy...

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Having six dogs!

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The conflict between Israel and Palestine can often seem like a permanent feature of the global order. The wars, intifadas, refugees camps, suicide vests, UN resolutions, and peace talks have been painfully burned into our collective consciousness. But how could this have happened? Was it always this way? That's what we'll seek to find out in Fear & Loathing in the New Jerusalem, a multi-part series exploring the history of the Israeli-Palestinian conflict.

Click here for Episode 1 - Nations are rallying to throw off the yoke of the Great Powers, and demanding the sovereign right to rule their homelands. A group calling themselves Zionists puts out a call to awaken the oppressed Jews of Europe from their thousand-year slumber. The time had come, after two thousand years of homeless wandering, to return to Palestine, the land longed for in so many psalms and lamentations. But there was a problem. While the Jews were in exile, another people had moved into the land, and they had been living there for 1300 years.

Click here for Episode 2 - The Arabs and the Zionists in Palestine struggle to get their bearings in a ruined world. The smell of gunsmoke still lays thick over the landscape, and the ink is still wet on the Balfour Declaration and the several new international agreements. The First World War is over, and people around the world are demanding their independence in the new world order. But building a national identity takes more than just drawing lines on a map or running a rag up a flagpole.

Click here for Episode 3, Shoptalk Edition - We're halfway through Fear & Loathing in the New Jerusalem, the history of Zionism and the Israeli-Palestinian conflict. I decided to throw something together to answer a few questions and get down in the weeds to talk about Arab tribal dynamics, honor culture, religion, and the mutual incomprehension that helped construct the Middle Eastern mousetrap a century ago, and remains an obstacle to progress in the region today.

Click here for Episode 4 - The 1920s are relatively quiet in Palestine. I used the slower pace of events to dig into the social, political, and economic trends that were pushing the Palestinian Arabs to the edge. Some loose ends tied and some gaps filled up, setting up the last Jenga block before it comes crashing down.

Click here for Episode 5 - Riots. Massacres. The end of the world and everything in it. Palestinian Arabs finally find a voice in the wake of the 1929 massacres. Unable and unwilling to find a place for the Jews, Europe's autoimmune disorder begins to tear the host apart. Desperate European Jews seek escape from Nazi persecution just as Palestinian resistance stiffens and the British become skeptical of the Zionist project.

Click here for Episode 6 - Modern Zionism began in the late 19th century with idealistic calls for spiritual renewal; by 1939, it had transformed into a desperate play for bare survival. Young revolutionaries do combat with Zionist elder statesmen for the soul of the movement. Hitler's German Reich and Stalin's Soviet Union do battle for Europe while everything between them is ground into the mud. Victims become victimizers, and the wider world gets an introduction to the dispute that has been confounding the British Empire for 20 years.

All episodes are available on iTunes, Stitcher, and your favorite podcast indexer. Be sure to leave a rating or a comment to let me know what you think! Thanks for listening.

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The conflict between Israel and Palestine can often seem like a permanent feature of the global order. The wars, intifadas, refugees camps, suicide vests, UN resolutions, and peace talks have been painfully burned into our collective consciousness. But how could this have happened? Was it always this way?

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Going back to our campus

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Different culturally relevant lessons

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Greece, but really I just want the beach!

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Greece, but really I just want the beach!

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Vienna going to the Opera and enjoying classical music. 

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Vienna going to the Opera and enjoying classical music. 

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Ale Polcik

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This Spring semester

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Taken 40 middle school students to Stonehenge 

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Taken 40 middle school students to Stonehenge 

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Traveling!

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‎The Line: Introducing "The Line" on Apple Podcasts

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‎Explore the impact of the forever wars on the U.S. Navy SEALs through the lens of the Eddie Gallagher case. Listen and follow on Apple Podcasts.

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I'm feeling a little hungry and a bit tired still

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I'm feeling a little hungry and a bit tired still

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The Strange Career of William Ellis: The Texas Slave who Became a Mexican Millionaire

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The Strange Career of William Ellis: The Texas Slave who Became a Mexican Millionaire

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Today, I'll go with Ann Richards

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Dorothy Ann Richards (née Willis; September 1, 1933 - September 13, 2006) was an American politician and 45th Governor of Texas (1991-95). A Democrat, she first came to national attention as the Texas State Treasurer, when she gave the keynote address at the 1988 Democratic National Convention. Richards was the second female governor of Texas (the first being Miriam A. Ferguson) and was frequently noted in the media for her outspoken feminism and her one-liners.

Born in McLennan County, Texas, Richards became a schoolteacher after graduating from Baylor University. She won election to the Travis County Commissioners' Court in 1976 and took office as Texas State Treasurer in 1983. She delivered a nominating speech for Walter Mondale at the 1984 Democratic National Convention and the keynote address at the 1988 Democratic National Convention.

Richards won the 1990 Texas gubernatorial election, defeating Texas Attorney General Jim Mattox in a Democratic primary run-off election and businessman Clayton Williams in the general election. She was defeated in the 1994 Texas gubernatorial election by George W. Bush. She remained active in public life until her death in 2006.

To date, Richards remains the last Democrat to serve as Governor of Texas.

Richards was born Dorothy Ann Willis in Lakeview (now part of Lacy Lakeview), in McLennan County, Texas, the only child of Robert Cecil Willis and Mildred Iona Warren. She grew up in Waco, participated in Girls State, and graduated from Waco High School in 1950. She attended Baylor University on a debate team scholarship, and earned a bachelor's degree. After marrying high school sweetheart David "Dave" Richards, she moved to Austin, where she earned a teaching certificate from the University of Texas. David and Ann Richards had four children: Cecile, Daniel, Clarke, and Ellen.

Richards taught social studies and history at Fulmore Junior High School (renamed Lively Middle School) in Austin from 1955 to 1956. She campaigned for Texas liberals and progressives such as Henry B. Gonzalez, Ralph Yarborough, and future U.S. District Judge Sarah T. Hughes.

Early political career

By the 1970s, Richards was an accomplished political worker, having worked to elect liberal Democrats Sarah Weddington and Wilhelmina Delco to the Texas Legislature, and having presented training sessions throughout the state on campaign techniques for women candidates and managers. She supported ratification of the Equal Rights Amendment to the U.S. Constitution, presenting the amendment to the delegates of the National Women's Conference, held in Houston in 1978, but the amendment was never ratified by enough states to become part of the Constitution.

In 1976, Richards ran against and defeated a three-term incumbent on the four-member Travis County, Texas Commissioners' Court; she took 81.4 percent of the vote against Libertarian opponent Laurel Freeman to win re-election in 1980. During this time, her marriage ended. Richards' drinking became more pronounced, and she sought and completed treatment for alcoholism in 1980.

State Treasurer

After incumbent Texas State Treasurer Warren G. Harding (no relation to the U.S. president) became mired in legal troubles in 1982, Richards won the Democratic nomination for that post. Winning election against a Republican opponent in November that year, Richards became the first woman elected to statewide office in more than fifty years. In 1986, she was re-elected treasurer without opposition. Richards was a popular and proactive treasurer who worked to maximize the return of Texas state investments. Richards said that when she took office, the Treasury Department was run something like a 1930s country bank, with deposits that didn't earn interest. At the 1984 Democratic National Convention, Richards delivered one of the nominating speeches for nominee Walter Mondale, and she campaigned actively for the Mondale/Ferraro ticket in Texas, even though President Ronald Reagan enjoyed great popularity in her state.

1988 Democratic National Convention

Richards' keynote address to the 1988 Democratic National Convention put her in the national spotlight. The speech was highly critical of the Reagan Administration and then- Vice President George H. W. Bush. Her address was notable for including several humorous remarks displaying her down-home Texas charm such as: "I'm delighted to be here with you this evening, because after listening to George Bush all these years, I figured you needed to know what a real Texas accent sounds like", "Poor George, he can't help it. He was born with a silver foot in his mouth", "...two women in 160 years is about par for the course. But if you give us a chance, we can perform. After all, Ginger Rogers did everything that Fred Astaire did. She just did it backwards and in high heels." and "When we pay billions for planes that won't fly, billions for tanks that won't fire, and billions for systems that won't work, that old dog won't hunt. And you don't have to be from Waco to know that when the Pentagon makes crooks rich and doesn't make America strong, that it's a bum deal." Richards' convention address has been cited by rhetorical experts as a historically significant speech. The speech set the tone for her political future. In 1989, with co-author Peter Knobler, she wrote her autobiography, Straight from the Heart: My Life in Politics and Other Places.

Governor (1991-1995)

In 1990, Texas' Republican governor, Bill Clements, decided not to run for re-election to a third nonconsecutive term. Richards painted herself as a sensible progressive, and won the Democratic gubernatorial nomination against Attorney General (and former U.S. representative) Jim Mattox of Dallas and former Governor Mark White of Houston. Mattox ran a particularly abrasive campaign against Richards, accusing her of having had drug problems beyond alcoholism. The Republicans nominated colorful and eccentric multi-millionaire rancher Clayton W. Williams, Jr., of Fort Stockton and Midland. Republican political activist Susan Weddington of San Antonio, a Williams supporter, placed a black wreath that read "Death to the Family" at the door of Richards's campaign headquarters in Austin. After a series of legendary gaffes by Williams (most notably a joke about the crime of rape), Richards narrowly won on November 6, 1990, by a margin of 49-47 percent. Libertarian Party candidate Jeff Daiell drew 3.3 percent in an effort that included television spots and considerable personal campaigning. Richards was inaugurated governor the following January.

Although officially she was the second woman to hold Texas's top office, Richards is considered the first woman elected governor of Texas in her own right, since twice-elected Miriam "Ma" Ferguson is often discounted as having been a proxy for impeached governor James E. "Pa" Ferguson, her husband.

The economy of Texas had been in a slump since the mid-1980s, compounded by a downturn in the U.S. economy. Richards responded with a program of economic revitalization, yielding growth in 1991 of 2 percent when the U.S. economy as a whole shrank. Richards also attempted to streamline Texas's government and regulatory institutions for business and the public; her efforts in the former tried but failed to help revitalize Texas's corporate infrastructure for its explosive economic growth later in the decade, and her audits on the state bureaucracy saved $600 million.

As governor, Richards reformed the Texas prison system, establishing a substance abuse program for inmates, reducing the number of violent offenders released, and increasing prison space to deal with a growing prison population (from less than 60,000 in 1992 to more than 80,000 in 1994). She backed proposals to reduce the sale of semi-automatic firearms and "cop-killer" bullets in the state.

She signed into law the amendment of the Texas Financial Responsibility Law where renewal of a motor vehicle's registration (also covers initial registration of a motor vehicle), safety inspection sticker, driver's license, and/or obtaining new license plates require that a motorist must have a valid auto insurance policy. The law, which passed on September 1, 1991, broadens the 1982 law where a police officer will request a driver's license and proof of insurance during a traffic stop.

She appointed then State Representative Lena Guerrero of Austin to a vacancy on the Texas Railroad Commission. The Hispanic Guerrero (1957-2008) was the first non- Anglo to serve on the commission in history. However, problems over falsification of her resume led to her resignation from the commission and defeat by the Republican Barry Williamson in the 1992 general election.

The Texas Lottery was also instituted during her governorship-advocated as a means of supplementing school finances; Richards purchased the first lottery ticket on May 29, 1992, in Oak Hill, near Austin.

School finance remained one of the key issues of Richards' governorship and of those succeeding hers; the famous Robin Hood plan was launched in the 1992-1993 biennium and attempted to make school funding more equitable across school districts. Richards also sought to decentralize control over education policy to districts and individual campuses; she instituted "site-based management" to this end.

In 1993, Richards signed into law the re-codified Texas Penal Code which included anti-homosexual Section 21.06, the state's "Homosexual Conduct" law which states: "(a) A person commits an offense if he engages in deviate sexual intercourse with another individual of the same sex. (b) An offense under this section is a Class C misdemeanor.". In 1990, Richards had campaigned in Houston to repeal the law. But, as governor, her signature criminalized same-sex sexual relations in Texas.

Despite outspending the Bush campaign by 23%, she was defeated in 1994 by George W. Bush, with 45.88% of the vote to Bush's 53.48% while Libertarian Keary Ehlers received 0.64%. The Richards campaign had hoped for a misstep from the relatively inexperienced Republican candidate, but none appeared, while Richards created many of her own, including calling Bush "some jerk", "shrub" and "that young Bush boy".

Governor Richards redefined feminine leadership and oratory style. She blended traditionally feminine traits such as nurturing and relationship building with traditionally masculine traits such as assertiveness and speaking directly and with candor. She was an inspiration to female voters and commanded the attention of male voters. Governor Richards successfully navigated the cutting edge that divides being "too masculine" and not being "too feminine." Her ability to speak her mind with a refusal to be a soft voice in the background commanded the attention of not only voters, but also lawmakers allowing her to be an agent of change in Texas government.

Richards was defeated in the 1994 Republican landslide that also unseated New York Governor Mario Cuomo and brought a Republican majority to the United States Senate and the United States House of Representatives. Richards and Cuomo appeared in a series of humorous television commercials for the snack food Doritos shortly afterward, in which they discussed the "sweeping changes" occurring. The changes they are discussing turn out to be the new Doritos packaging.

Beginning in 2001, Richards was a senior advisor to the communications firm Public Strategies, Inc. in Austin and New York. From 1995 to 2001, Richards was also a senior advisor with Verner, Liipfert, Bernhard, McPherson and Hand, a Washington, D.C.-based international law firm. Richards sat on the boards of the Aspen Institute, J.C. Penney, and T.I.G. Holdings.

One of her daughters, Cecile Richards, became president of Planned Parenthood in 2006. Ann Richards demonstrated interest in social causes such as equality, abortion, and women's rights.

She was a tireless campaigner for Democratic candidates throughout the United States. In the 2004 presidential election, Richards endorsed Howard Dean for the Democratic nomination, and campaigned on his behalf. Richards later stumped for Democratic nominee John Kerry, highlighting the issues of health care and women's rights. Some political pundits mentioned her as a potential running mate to Kerry; however, she did not make his list of top finalists, and he selected North Carolina Senator John Edwards. Richards said that she was "not interested" in a political comeback.

Richards taught social studies and history at Fulmore Junior High School (now Lively Middle School) in Austin (1954-1957). She continued teaching in later years.

She served at Brandeis University as the Fred and Rita Richman Distinguished Visiting Professor of Politics from 1997 to 1998. In 1998 she was elected as a trustee of Brandeis University in Waltham, Massachusetts, she was reelected in 2004, and continued to hold the position until her death.

Richards was diagnosed with osteoporosis in 1996, having lost inch in height and broken her hand and ankle. She changed her diet and lifestyle, and then her bone density stabilized. She spoke frequently about this experience, teaching or advocating a healthier lifestyle for women at risk of the disease. In 2004, she authored I'm Not Slowing Down, with the gynaecologist Richard U. Levine, which describes her own battle with osteoporosis and offers guidance to others with the disease.

In Steve Labinski's review, he described the book as inspiring women to fight the disease with various tactics, such as:

identifying factors that might increase vulnerability to osteoporosis including lack of estrogen, menopause, and usage of drugs related to caffeine, tobacco and alcohol;

emphasizing the impact of bone-density tests and explaining the process using Ann Richard's own bone test as an example;

supplying an extensive list of calcium-enriched foods which are beneficial, plus noting some foods to avoid;

listing everyday tips to improve muscle condition and prevent bone injuries.

Labinski also noted that in the mission to help women overcome osteoporosis, Richards had created a useful, and often humorous, book that would inspire many.

In the fall of 2005, Richards taught a class called "Women and Leadership" at the University of Texas at Austin; 21 female students were selected for that class.

One of her first legislative requests was to move the Texas Music Office (created in 1990 during the administration of Governor Bill Clements) and the Texas Film Commission (created in 1971 during Governor Preston Smith's term) from the Texas Department of Commerce to the Office of the Governor.

Her longtime personal interest in Texas film and music greatly raised the public profile of both industries and brought the two programs into the Governor's Office. As a result, these industries were institutionalized as key high-profile parts of Texas' future economic growth plans. Other of her music milestones include publishing the first "Texas Music Industry Directory" (1991) and her "Welcome to Texas" speech to the opening day registrants of the 1993 South By Southwest Music and Media Conference. She was involved with the Texas Film Hall of Fame from the beginning. At the first ceremony, she inducted Liz Smith. She was emcee every subsequent year but had to cancel at the last minute in 2006 because of her diagnosis with cancer.

Richards said, "I've been a friend to Texas film since the number of people who cared about Texas film could have fit in a phone booth." She was an advocate for the Texas film industry and traveled to Los Angeles to market her state. Gary Bond, the director of the Austin Film Commission, noted, "She was far from being the first governor to appoint a film commissioner; I think she was the first that really brought the focus of Hollywood to Texas."

She was also a mentor to other women. She advised Rebecca Campbell, executive director of the Austin Film Society, "Whenever you speak in public you've got to tell them what you need from them." She put the spotlight on film as a genuine industry, brought more focus to Texas, and had a tremendous network of people in the entertainment industry. She gave more focus to film as a business than had been done before.

She was interviewed in the 1996 Ken Burns documentary series about the history of Texas and the United States in the 1800s. In the film she claims that the colonization of the United States required genocide and dispossession, "But even knowing all of that. And wishing that part of it were not there, cannot take away the spirit and idealism and the excitement that people (settlers) felt that actually did it and that we still feel when we think about them doing it." Richards also appeared in a 2009 documentary film, Sam Houston: American Statesman, Soldier, and Pioneer.

It is believed that her last appearance in film was in a short public announcement used at the Alamo Drafthouse, asking patrons not to be disruptive during the film. The Alamo Drafthouse still uses it today, with an addition at the end in honor of Ann Richards.

Richards was active in the Austin City Limits Festivals, and the SXSW festival: the interactive, music, and film festival, held each year in Austin.

During her career, Ann Richards received many awards and honors including: Baylor Distinguished Alumna, the Texas NAACP Presidential Award for Outstanding Contributions to Civil Rights, the National Wildlife Federation Conservation Achievement Award, the Orden del Aguila Azteca ( Order of the Aztec Eagle) presented by the government of Mexico, the Maurice N. Eisendrath Bearer of Light Award from the Union of American Hebrew Congregations, and the Texas Women's Hall of Fame honoree for Public Service.

While the events of 9/11 motivated many New Yorkers to leave the city, Liz Smith wrote that it drove the former governor to that city in which she would spend the last five years of her life. She wanted to set an example for her fellow Americans to follow. The example was that "just because something tragic and life altering may happen, that doesn't mean we're supposed to turn heel and run away."

In March 2006, Richards disclosed that she had been diagnosed with esophageal cancer and received treatment at the University of Texas MD Anderson Cancer Center in Houston. Alcohol and tobacco exposure are major risk factors for certain types of esophageal cancer; Richards had "admitted to heavy drinking and smoking in her younger years, saying she 'smoked like a chimney and drank like a fish.'"

She died from cancer on the night of September 13, 2006, at her home in Austin, surrounded by her family, 12 days after her 73rd birthday. Her remains are interred at Texas State Cemetery in Austin. She was survived by her four children, their spouses, and eight grandchildren. Three memorial services were held.

On November 16, 2006, the City of Austin changed the official name of Congress Avenue Bridge (which opened in 1910) to " Ann W. Richards Congress Avenue Bridge".

Her 1988 DNC keynote address was listed as #38 in American Rhetoric's Top 100 Speeches of the 20th Century (listed by rank).

The Ann Richards School for Young Women Leaders in Austin, Texas, which Ann Richards helped to create, is named for her. The Ann Richards School, a college preparatory school for girls in grades 6-12, opened in the fall of 2007 in Austin, and continues to celebrate the life and legacy of Governor Richards. She also inaugurated a school in the year 1999 named Ann Richards Middle School in Palmview, Texas.

A tribute to Richards was featured during the "HerStory" video tribute to notable women on U2's tour in 2017 for the 30th anniversary of The Joshua Tree during a performance of "Ultraviolet (Light My Way)" from the band's 1991 album Achtung Baby.

In 2001, Richards guest starred as herself in a fifth-season episode of the Texas-based animated TV series King of the Hill. In the episode entitled " Hank and the Great Glass Elevator", she gets mooned by Hank Hill and then enters into a brief relationship with Bill Dauterive. She is also seen in the closing credits of King of the Hill Season 1 Episode 4, playing tether ball with Willie Nelson's roadie.

Richards made a voice cameo in Disney's 2004 animated film Home on the Range, where she voiced a saloon owner named Annie.

Richards was a topic in the film Bush's Brain (by Joseph Mealey and Michael Shoob), in a long segment regarding her defeat in the 1994 election for Texas governor. The film presents the case that the defeat of Richards involved a whisper campaign that the governor (mother of four children) was a lesbian because she had allegedly hired many gays and lesbians to work on her re-election campaign.

In the 2008 Oliver Stone film , Richards is mentioned during George Bush's campaign as "Ms. Big Mouth, Big Hair".

Richards was one of the characters portrayed by Anna Deavere Smith in her play, Let Me Down Easy, which explores illness, death, and the healthcare system. The show opened in 2008, played in cities around the country, and was featured as part of PBS's Great Performances series on January 13, 2012.

In 2010, actress Holland Taylor debuted in a one-woman show called "Ann: An Affectionate Portrait of Ann Richards" at the Charline McCombs Empire Theater in San Antonio, Texas. The show was subsequently staged at the Kennedy Center in Washington, D.C., and the Vivian Beaumont Theater in New York City's Lincoln Center in 2013. PBS Great Performances broadcast the premiere of the play, now titled simply "Ann," on June 19, 2020. It had been recorded at the Zach Theater in Austin, Texas, following its national tour and Broadway run. Taylor said of her subject, "She was brave, strong, and funny-Bill Clinton has said the wittiest person he'd ever met!...She ran as a liberal in conservative Texas, so I had to write a play about her four incredible years in Austin.... She was ahead of Obama by about 10 years as an 'inclusive' leader."

In 2012 a documentary about her political life, Ann Richards' Texas, was released. On April 28, 2014, HBO released a documentary, All About Ann: Governor Richards of the Lone Star State.

In 2019, "Call Me Ann: A Rock Opera" debuted in Houston, Texas at the Houston Fringe Festival.

1. Richards's inauguration from January 15, 1991

2. Inaugural Parade Part I

3. Inaugural Parade Part II

1. The comment was a combination of two American idioms: a man born into wealth is described as "born with a ^ silver spoon in his mouth", and a man who embarrasses himself while speaking is described as "putting his foot in his mouth". A similar line had been used by Mary Wickes, Richard Dawson, and Betty White on an episode of Match Game '76, in which they were asked to fill in a phrase stating that President Ford was "born with a silver _______ in his mouth", and all three suggested "foot". The line was also used in M*A*S*H episode 180, "Nurse Doctor", originally aired on October 29, 1979.

2. The line originated in a 1982 ^ Frank and Ernest cartoon by Bob Thaves as, "Sure he was great, but don't forget that Ginger Rogers did everything he did, backwards... and in high heels." On the internet and in many publications the line is incorrectly attributed to Faith Whittlesey (see ). Ann Richards popularized the line by using it in this speech but she credits Linda Ellerbee with giving her the line, and Ellerbee credits an anonymous passenger on an airplane with giving her the line (see Keyes, Ralph (2006) (May 30, 2006). "The Quote Verifier: Who Said What, Where, and When". St. Martin's Griffin. p. 77. ISBN 0-312-34004-4.). The official Ginger Rogers website Archived August 3, 2009, at the Wayback Machine attributes the line to Thaves.

3. Claytie and the Lady. By Sue Tolleson-Rinehart and Jeanie R. Stanley University of Texas Press, 1994. Pp. viii+18o. Acknowledgments, indices. ^ ISBN 0-292-77065-0

4. Bonnie J. Dow & Mari Boor Tonn (1993) "Feminine style" and political judgment in the rhetoric of Ann Richards, Quarterly Journal of Speech, 79:3, 286-302, ^ doi:10.1080/00335639309384036

5. Diane M. Martin (2004) Balancing on the political high wire: The role of humor in the rhetoric of Ann Richards, Southern Communication Journal, 69:4, 273-288, ^ doi:10.1080/10417940409373300

6. ^ West, Paul (January 16, 2004). "Former rival endorses Dean as '04 race tightens in Iowa". The Baltimore Sun.

7. ^ Book Review - Winning My Battle With Osteoporosis by Ann Richards" (formal review), Steve Labinski, webpage: Texana-Texas-AR.

8. Sarah Linder, "Richards was a Friend of Texas film" (filmmaking), ^ "Austin American Statesman", Austin, Texas, 2006-09-14, web: AR.

9. ^ Ives, S., Abramson, J., Wood, G. C., Duncan, D., Burns, K., PBS Video., & WETA-TV (Television station : Washington, D.C.). (1996). The West. Alexandria, VA: PBS. (4:45)

10. ^ About the film, The Sam Houston Project, retrieved on March 20, 2017.

11. ^ King, Michael (September 22, 2006). "Point Austin: Austin Girl". Austin Chronicle.

12. ^ Smith, Liz, Spotlight: Driving Ms. Richards, Vanity Fair, March 2013, p. 365

13. ^ AP, "Former Texas Gov. Ann Richards, 73, dies" (CNN.com), 2006-09-13, web: [3]: on death at home, with family. Archived September 21, 2006, at the Wayback Machine

14. ^ KVUE-TV, "Richards services finalized", News for Austin, Texas: KVUE.com, September 15, 2006, web: KVUE-Richards.

15. Jill Cozzi, "Bush's Brain" (film review), ^ Mixed Reviews, 2004, web: MixedReviews-BB Archived March 3, 2016, at the Wayback Machine.

16. Wayne Slater, (December 12, 2010) ^ One-woman play about ex-Texas Gov. Ann Richards portrays a real 'piece of work', The Dallas Morning News. Retrieved December 28, 2010.

Ann Richards, Richard U. Levine, I'm Not Slowing Down; Winning My Battle With Osteoporosis, publisher: Plume, July 27, 2004, Paperback, 208 pages, ISBN 0-452-28412-0.

Ann Richards, Richard U. Levine, I'm Not Slowing Down; Winning My Battle With Osteoporosis, publisher: E.P. Dutton, August 7, 2003, Hardcover, 256 pages, ISBN 0-525-94691-8.

Ann Richards, Peter Knobler, Straight from the Heart: My Life in Politics and Other Places, publisher: Simon & Schuster, New York, 1989, Hardcover, 256 pages, illustrated with 14 black & white photographs, ISBN 0-671-68073-0.

Texas State Library: Governors of Texas

Ann Richards' 1988 Democratic Convention Keynote Address

1995 Commencement speech, Mount Holyoke College

2002-2003 Fiscal Size-up (PDF) by the Texas Legislative Budget Board

Remembering Ann Richards by Molly Ivins

TX Governor Race-November 8, 1994

TX Governor Race-November 6, 1990

TX Governor Democratic Primary Runoff Race-April 10, 1990

TX Governor Democratic Primary Race-March 13, 1990

TX State Treasurer Race-November 4, 1986

TX State Treasurer Race-November 2, 1982

A Conversation with Ann Richards - January 22, 2003, The Texas Politics Project, University of Texas at Austin.

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Dorothy Ann Richards (née Willis; September 1, 1933 - September 13, 2006) was an American politician and 45th Governor of Texas (1991-95). A Democrat, she first came to national attention as the Texas State Treasurer, when she gave the keynote address at the 1988 Democratic National Convention.

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and old hat from my grandfather that has more than 100 years and it looks great! Alejandra Polcik

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and old hat from my grandfather that has more than 100 years and it looks great! Alejandra Polcik

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Dateline NBC Podcast - been binge-listening to these lately

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Family- I get to see my mom for the first time since 2019!

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Family- I get to see my mom for the first time since 2019!

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A Pool by the beach 🏖

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Appreciative

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my friends, my family, students and inspirational coworkers. Alejandra Polcik

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my friends, my family, students and inspirational coworkers. Alejandra Polcik

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No special meaning....my parents wanted a name that started with "A" and liked Andrea