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Her marriage asunder, she begins her peripatetic travels to Genoa, Venice, Florence and eventually to London, always in search of work, and always fleeing the taint of her rape. Vreeland paints her character and the different worlds she inhabits with loving and compelling detail--the sights and sounds of Florence, the snooty male hegemony of the Academy, the Medici feuds and intrigues. But the writing, particularly in Artemisia's own reflections and dialogue, is often jarringly clunky: "I really was living the life of an artist in the greatest art city in the world"; "I wanted to hug them all"--and this does detract from the novel's tone and persuasivenss. The book's cover is a travesty: a portrait of St Cecilia--the model is thought to be Artemisia and the painting is by her father. But why not one of Artemisia's own extraordinary paintings: indeed, her absorbed, intense self-portrait speaks volumes? What a sad irony that its very boldness has been sacrificed to the more saccharine beauty of her father's work. --Ruth Petrie
Praise for GIRL IN HYACINTH BLUE:
'Not just another book with a Vermeer on the dust jacket....This beautifully imagined and written book...is a work of art itself'
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