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Books by Rachel McGarry

Botticelli and Renaissance Florence (exh. cat.), ed. by Cecilia Frosinini and Rachel McGarry, 2022

Master Drawings from the Minneapolis Institute of Arts, 2014

Introductory essay in the exhibition catalogue by Rachel McGarry, "Master Drawings from the Minne... more Introductory essay in the exhibition catalogue by Rachel McGarry, "Master Drawings from the Minneapolis Institute of Arts" (Minneapolis, 2014)

The Orléans Collections, 2014

Essay examines Bolognese painting in the collection of the duc d'Orléans contributed to the exhib... more Essay examines Bolognese painting in the collection of the duc d'Orléans contributed to the exhibition catalogue by Vanessa Schmid, "The Orléans Collection" (New Orleans, 2018)

PhD diss., NYU, 2007

Guido Reni (1575-1642) was one of the most successful artists of seventeenth-century Italy, with ... more Guido Reni (1575-1642) was one of the most successful artists of seventeenth-century Italy, with such illustrious patrons as Philip IV, Marie de’ Medici, and Urban VIII vying for his works. Despite his historical significance and the tremendous attention he has received from writers and scholars over the past four centuries, his early career remains surprisingly little examined and largely misunderstood. Reni’s eventual fame has obscured the ordinary struggles of his youth and the distinctive character of his early work completed before his dramatic artistic transformation in Rome.

This dissertation will investigate the period before his celebrated success. It presents the most comprehensive account of his early career, as a painter, draftsman and printmaker, from his musical beginnings in Bologna to his efforts to establish himself as a prominent painter in Rome. Part I examines Reni’s education and artistic training in Bologna. Part II investigates his early independence and activities in both Bologna and Rome, between which the artist restlessly traveled in these years. A fresh portrait of Guido emerges through a critical examination of his works from this period; the specific details of commissions—formal qualities, physical contexts, patronage, documentation, and reception—are carefully reviewed. In addition, his
relationships with members of the Bolognese and Roman artistic milieus are thoroughly explored, with special attention given to his complex, sustained relationship with the Carracci. The Epilogue considers Reni’s activities after settling in Rome but before entering the service of the papal family—the Borghese—in 1608. The appendix presents a documented chronology of Reni’s early career and includes newly discovered documents and a critical examination of old archival material, both of which considerably alter heretofore chronologies.

This study dismantles the tidy, carefree version of Guido’s early career that we have inherited, demonstrating that his pursuit of wealth and glory was far messier and less certain than previously thought. Yet this reappraisal only elevates his standing, for his humble start and the deliberate pace of his artistic development underline, rather than undermine, his extraordinary success.

Papers by Rachel McGarry

Guido Reni, 2023

Examination of Guido Reni's early career in the Museo del Prado's exhibition and catalogue organi... more Examination of Guido Reni's early career in the Museo del Prado's exhibition and catalogue organized and edited by David García Cueto

Guido Reni (1575-1642) was one of the most successful artists of seventeenth-century Italy, with ... more Guido Reni (1575-1642) was one of the most successful artists of seventeenth-century Italy, with such illustrious patrons as Philip IV, Marie de’ Medici, and Urban VIII vying for his works. Despite his historical significance and the tremendous attention he has received from writers and scholars over the past four centuries, his early career remains surprisingly little examined and largely misunderstood. Reni’s eventual fame has obscured the ordinary struggles of his youth and the distinctive character of his early work completed before his dramatic artistic transformation in Rome. This dissertation will investigate the period before his celebrated success. It presents the most comprehensive account of his early career, as a painter, draftsman and printmaker, from his musical beginnings in Bologna to his efforts to establish himself as a prominent painter in Rome. Part I examines Reni’s education and artistic training in Bologna. Part II investigates his early independence and activities in both Bologna and Rome, between which the artist restlessly traveled in these years. A fresh portrait of Guido emerges through a critical examination of his works from this period; the specific details of commissions—formal qualities, physical contexts, patronage, documentation, and reception—are carefully reviewed. In addition, his relationships with members of the Bolognese and Roman artistic milieus are thoroughly explored, with special attention given to his complex, sustained relationship with the Carracci. The Epilogue considers Reni’s activities after settling in Rome but before entering the service of the papal family—the Borghese—in 1608. The appendix presents a documented chronology of Reni’s early career and includes newly discovered documents and a critical examination of old archival material, both of which considerably alter heretofore chronologies. This study dismantles the tidy, carefree version of Guido’s early career that we have inherited, demonstrating that his pursuit of wealth and glory was far messier and less certain than previously thought. Yet this reappraisal only elevates his standing, for his humble start and the deliberate pace of his artistic development underline, rather than undermine, his extraordinary success.

Conference Presentations by Rachel McGarry

Presented at the Nasher Museum of Art at Duke University, symposium, October 13, 2017, 2017

The artist behind the "View of Venice," Jacopo de’ Barbari, is an enigmatic, fascinating figure. ... more The artist behind the "View of Venice," Jacopo de’ Barbari, is an enigmatic, fascinating figure. He was among a small, growing group of Italian artists working north of the Alps in the Renaissance. After leaving Venice in 1500 he moved frequently—Nuremberg, Wittenberg, probably Mecklenburg, Brandenburg, and Souburg, following by Mechelen, Brussels, Antwerp—working almost exclusively as a court artist. Not mentioned by Vasari or Sandrart, he was forgotten soon after his death. Until the 19th century, he was known as the “Master of the Caduceus” because of the device with which he signed work. There is now consensus that he was Venetian by birth, but his age and death date remain unknown.
This paper situates the View in the mysterious career of Jacopo de’ Barbari. His surviving oeuvre, which fluctuates because of questions of attribution, is relatively small: 27 to 29 engravings, three woodcuts, two to five drawings, eleven to twenty paintings. The View, a landmark in Renaissance art and printmaking, is exceptional in this body of work. While de’ Barbari created works of originality and breadth, nothing is as complex, large, or commercial as his most famous work.
An examination of de’ Barbari’s itinerant career and printmaking practice highlights the special nature of the project. The View’s achievement is better understood by looking at the collaborative effort behind the work. The publisher of the View, Anton Kolb, a German merchant living in Venice, reported in an application to the Venetian Senate that it took three years to make. This represents an extraordinary investment of time and resources. Kolb’s role is considered here and contextualized in Venice’s fifteenth-century print culture and book trade.

Botticelli and Renaissance Florence (exh. cat.), ed. by Cecilia Frosinini and Rachel McGarry, 2022

Master Drawings from the Minneapolis Institute of Arts, 2014

Introductory essay in the exhibition catalogue by Rachel McGarry, "Master Drawings from the Minne... more Introductory essay in the exhibition catalogue by Rachel McGarry, "Master Drawings from the Minneapolis Institute of Arts" (Minneapolis, 2014)

The Orléans Collections, 2014

Essay examines Bolognese painting in the collection of the duc d'Orléans contributed to the exhib... more Essay examines Bolognese painting in the collection of the duc d'Orléans contributed to the exhibition catalogue by Vanessa Schmid, "The Orléans Collection" (New Orleans, 2018)

PhD diss., NYU, 2007

Guido Reni (1575-1642) was one of the most successful artists of seventeenth-century Italy, with ... more Guido Reni (1575-1642) was one of the most successful artists of seventeenth-century Italy, with such illustrious patrons as Philip IV, Marie de’ Medici, and Urban VIII vying for his works. Despite his historical significance and the tremendous attention he has received from writers and scholars over the past four centuries, his early career remains surprisingly little examined and largely misunderstood. Reni’s eventual fame has obscured the ordinary struggles of his youth and the distinctive character of his early work completed before his dramatic artistic transformation in Rome.

This dissertation will investigate the period before his celebrated success. It presents the most comprehensive account of his early career, as a painter, draftsman and printmaker, from his musical beginnings in Bologna to his efforts to establish himself as a prominent painter in Rome. Part I examines Reni’s education and artistic training in Bologna. Part II investigates his early independence and activities in both Bologna and Rome, between which the artist restlessly traveled in these years. A fresh portrait of Guido emerges through a critical examination of his works from this period; the specific details of commissions—formal qualities, physical contexts, patronage, documentation, and reception—are carefully reviewed. In addition, his
relationships with members of the Bolognese and Roman artistic milieus are thoroughly explored, with special attention given to his complex, sustained relationship with the Carracci. The Epilogue considers Reni’s activities after settling in Rome but before entering the service of the papal family—the Borghese—in 1608. The appendix presents a documented chronology of Reni’s early career and includes newly discovered documents and a critical examination of old archival material, both of which considerably alter heretofore chronologies.

This study dismantles the tidy, carefree version of Guido’s early career that we have inherited, demonstrating that his pursuit of wealth and glory was far messier and less certain than previously thought. Yet this reappraisal only elevates his standing, for his humble start and the deliberate pace of his artistic development underline, rather than undermine, his extraordinary success.

Guido Reni, 2023

Examination of Guido Reni's early career in the Museo del Prado's exhibition and catalogue organi... more Examination of Guido Reni's early career in the Museo del Prado's exhibition and catalogue organized and edited by David García Cueto

Guido Reni (1575-1642) was one of the most successful artists of seventeenth-century Italy, with ... more Guido Reni (1575-1642) was one of the most successful artists of seventeenth-century Italy, with such illustrious patrons as Philip IV, Marie de’ Medici, and Urban VIII vying for his works. Despite his historical significance and the tremendous attention he has received from writers and scholars over the past four centuries, his early career remains surprisingly little examined and largely misunderstood. Reni’s eventual fame has obscured the ordinary struggles of his youth and the distinctive character of his early work completed before his dramatic artistic transformation in Rome. This dissertation will investigate the period before his celebrated success. It presents the most comprehensive account of his early career, as a painter, draftsman and printmaker, from his musical beginnings in Bologna to his efforts to establish himself as a prominent painter in Rome. Part I examines Reni’s education and artistic training in Bologna. Part II investigates his early independence and activities in both Bologna and Rome, between which the artist restlessly traveled in these years. A fresh portrait of Guido emerges through a critical examination of his works from this period; the specific details of commissions—formal qualities, physical contexts, patronage, documentation, and reception—are carefully reviewed. In addition, his relationships with members of the Bolognese and Roman artistic milieus are thoroughly explored, with special attention given to his complex, sustained relationship with the Carracci. The Epilogue considers Reni’s activities after settling in Rome but before entering the service of the papal family—the Borghese—in 1608. The appendix presents a documented chronology of Reni’s early career and includes newly discovered documents and a critical examination of old archival material, both of which considerably alter heretofore chronologies. This study dismantles the tidy, carefree version of Guido’s early career that we have inherited, demonstrating that his pursuit of wealth and glory was far messier and less certain than previously thought. Yet this reappraisal only elevates his standing, for his humble start and the deliberate pace of his artistic development underline, rather than undermine, his extraordinary success.

Presented at the Nasher Museum of Art at Duke University, symposium, October 13, 2017, 2017

The artist behind the "View of Venice," Jacopo de’ Barbari, is an enigmatic, fascinating figure. ... more The artist behind the "View of Venice," Jacopo de’ Barbari, is an enigmatic, fascinating figure. He was among a small, growing group of Italian artists working north of the Alps in the Renaissance. After leaving Venice in 1500 he moved frequently—Nuremberg, Wittenberg, probably Mecklenburg, Brandenburg, and Souburg, following by Mechelen, Brussels, Antwerp—working almost exclusively as a court artist. Not mentioned by Vasari or Sandrart, he was forgotten soon after his death. Until the 19th century, he was known as the “Master of the Caduceus” because of the device with which he signed work. There is now consensus that he was Venetian by birth, but his age and death date remain unknown.
This paper situates the View in the mysterious career of Jacopo de’ Barbari. His surviving oeuvre, which fluctuates because of questions of attribution, is relatively small: 27 to 29 engravings, three woodcuts, two to five drawings, eleven to twenty paintings. The View, a landmark in Renaissance art and printmaking, is exceptional in this body of work. While de’ Barbari created works of originality and breadth, nothing is as complex, large, or commercial as his most famous work.
An examination of de’ Barbari’s itinerant career and printmaking practice highlights the special nature of the project. The View’s achievement is better understood by looking at the collaborative effort behind the work. The publisher of the View, Anton Kolb, a German merchant living in Venice, reported in an application to the Venetian Senate that it took three years to make. This represents an extraordinary investment of time and resources. Kolb’s role is considered here and contextualized in Venice’s fifteenth-century print culture and book trade.