Prierias: The Life and Works of Silvestro Mazzolini da Prierio (1456-1527). Michael Tavuzzi , Silvestro Mazzolini da Prierio
a Guercinesque idiom, making the painting more overtly appealing to a masculine taste for female display. She addresses the questions of who was responsible for reworking the canvas, whether it was a matter of collaboration or the result of unwelcome alterations, and why the changes occurred. Ultimately, Garrard decides that the introduction of a more traditional eroticism into the image through the display of the figure (an eroticism which the author admits was present in the painting even before it was reworked), the introduction of a landscape, and refiguration of the fountain are all inconsistent with Artemisia's professional and personal personae. Thus, Garrard concludes, the painting must have been reworked for the market not by Artemisia or with her consent, but after it left her possession, perhaps at the behest of a dealer who wished to create a work which would appeal to a public identification of the artist with her beautiful, sexually compromised subject. For Garrard, one of the puzzles of the reclaimed "regressive" Susanna, even in its initial somewhat less "masculinist" form, is the notion that it was produced at the same time as the "progressive" Magdalen (116). Garrard ultimately resolves this conflict by attributing greater complexity to Artemisia as a artist and by framing both works as illustrations of "Artemisia's determination to succeed as an artist." That is, the Magdalen reveals the painter's ambition, while the Susanna shows her willingness to compromise (118). All three paintings may illustrate the effects, both before and after the fact, which the market can have on the art of a savvy, as well as creative individual such as Artemisia. CHARLES M. ROSENBERG University of Notre Dame