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A Portrait in Shadow
Enter the sumptuous world of 17th century Florence, where art and magic are interwoven. Artemisia Gentileschi is a bright talent mired in shadows and will stop at nothing to make her mark, or exact her revenge – perfect for fans of Susanna Clarke.
When Artemisia Gentileschi arrives in Florence seeking a haven for her art, she faces instant opposition from the powerful Accademia, self-proclaimed guardians of the healing and necrotic magic that protect the city from plague and curses. The all-male Accademia jealously guards its power over art and architecture, and has no place for an ambitious young woman arriving from Rome under a cloud of scandal.
Alone and fighting for every commission, Artemisia begins winning allies among luminaries such Galileo and Michelangelo the Younger, as well as the wealthy and powerful Cristina de’ Medici. But when the shadow of her infamous rape trial in Rome turns her thoughts to vengeance, and an incendiary preacher turns his ire from Galileo to Florence's art world, Artemisia must choose between revenge and her dream of creating a legacy that will span the generations.
When Artemisia Gentileschi arrives in Florence seeking a haven for her art, she faces instant opposition from the powerful Accademia, self-proclaimed guardians of the healing and necrotic magic that protect the city from plague and curses. The all-male Accademia jealously guards its power over art and architecture, and has no place for an ambitious young woman arriving from Rome under a cloud of scandal.
Alone and fighting for every commission, Artemisia begins winning allies among luminaries such Galileo and Michelangelo the Younger, as well as the wealthy and powerful Cristina de’ Medici. But when the shadow of her infamous rape trial in Rome turns her thoughts to vengeance, and an incendiary preacher turns his ire from Galileo to Florence's art world, Artemisia must choose between revenge and her dream of creating a legacy that will span the generations.
432 pages, Kindle Edition
First published May 2, 2023
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2020 people want to read
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Displaying 1 - 30 of 92 reviews
May 8, 2023
I really hope Nicole Jarvis keeps setting her books in cities I've been to, because it's always fun when she names something and my brain is like "AHA, I'VE SEEN THAT/I'VE BEEN THERE". If you're reading this Miss Jarvis please give me 3/3 for your next book, thanks!!
So we have Artemisia who's trying to make a name for herself in a man's world. They refuse to accept a female painter, but Artemisia is determined to succeed. Will she?
A lot of the book is based on historical events, and some of it is completely fictional. There's also magic, griffons and blood drakes (which I imagine to be like dragons, but smaller).
The magic is either healing, or something that could harm a person, and it's in nearly every art piece an artist produces. Each time they do they give a bit of themselves to it and as a result they end up dying young.
I like this system, but I wish it was a bit more complex than that, it feels almost out of place. I think it gets better near the end, when we see more of the darker side of it.
Artemisia is interesting as a character. For the whole book you can feel her rage building up due to the injustices she faced in her past and present and you're just waiting for her to go off (especially knowing she has magic). So if you like female rage you'll probably like this book.
It's also a character driven story, much like one I read the other day, so don't go into this expecting non stop action, it's more internal development until it can no longer be contained.
The writing improved from Jarvis' first book, it flows better, and the descriptions are just as wonderful as they were in The Lights of Prague. And even though this one is longer than that one, it felt shorter, so bonus points for that.
*Thank you to the publishers and NetGalley for providing me with an e-ARC in exchange for an honest review*
So we have Artemisia who's trying to make a name for herself in a man's world. They refuse to accept a female painter, but Artemisia is determined to succeed. Will she?
A lot of the book is based on historical events, and some of it is completely fictional. There's also magic, griffons and blood drakes (which I imagine to be like dragons, but smaller).
The magic is either healing, or something that could harm a person, and it's in nearly every art piece an artist produces. Each time they do they give a bit of themselves to it and as a result they end up dying young.
I like this system, but I wish it was a bit more complex than that, it feels almost out of place. I think it gets better near the end, when we see more of the darker side of it.
Artemisia is interesting as a character. For the whole book you can feel her rage building up due to the injustices she faced in her past and present and you're just waiting for her to go off (especially knowing she has magic). So if you like female rage you'll probably like this book.
It's also a character driven story, much like one I read the other day, so don't go into this expecting non stop action, it's more internal development until it can no longer be contained.
The writing improved from Jarvis' first book, it flows better, and the descriptions are just as wonderful as they were in The Lights of Prague. And even though this one is longer than that one, it felt shorter, so bonus points for that.
*Thank you to the publishers and NetGalley for providing me with an e-ARC in exchange for an honest review*
April 30, 2023
A Portrait in Shadow by Nicole Jarvis is a beautiful slow-burning story about art, its meaning, power, and price. This book is a deep exploration of our passions – sometimes to create, heal, share, and sometimes to destroy.
The story takes place in 17th-century Florence where art is magic. This detail helps the author to lead her exploration through a metaphoric field.
Apart from it, the setting seems quite realistic, we meet many historical figures, including our main character, a talented artist Artemisia Gentileschi, and witness historical events.
So I'm in my historical fiction phase and spending my free time studying history and art, so this book was a perfect fit.
Let me highlight its strengths:
• Character work. The details the author weaves into her characters are beautiful and descriptive, the book feels like a character study, the discussion of society, our norms and prejudices, and how hard it is for people to accept something that doesn't fit their mindset.
• Atmosphere. I loved the atmosphere of Florence, but even more, I loved the feeling of art. The smell of paints, the texture of strokes on a canvas, candles in a small art studio, shadows playing on a face.
• Themes. This book unravels themes of art and creation amazingly, and I like how we discussed not only a beautiful side, but also an ugly one, including art obsession, or how art can be just a status thing for many.
I liked how Jarvis showed us Artemisia's journey and it touches me in many ways.
The book is character-focused and in this case, I feel like I wanted more of a plot, a thick thread that led me through the book. So if you prefer dynamic and plot-heavy books, maybe this one isn't for you.
Also, I'm surprised not in a good way by one minor decision at the end of the book. It's a little thing plot-wise, but for me, it felt like a contradiction to morals we discuss.
Aside from it, I don't have any complaints. It was captivating. If the idea of this book sounds tempting to you, then I recommend it.
I'm really grateful to Edelweiss+ and Titan Books for providing me with ARC.
The story takes place in 17th-century Florence where art is magic. This detail helps the author to lead her exploration through a metaphoric field.
Apart from it, the setting seems quite realistic, we meet many historical figures, including our main character, a talented artist Artemisia Gentileschi, and witness historical events.
So I'm in my historical fiction phase and spending my free time studying history and art, so this book was a perfect fit.
Let me highlight its strengths:
• Character work. The details the author weaves into her characters are beautiful and descriptive, the book feels like a character study, the discussion of society, our norms and prejudices, and how hard it is for people to accept something that doesn't fit their mindset.
• Atmosphere. I loved the atmosphere of Florence, but even more, I loved the feeling of art. The smell of paints, the texture of strokes on a canvas, candles in a small art studio, shadows playing on a face.
• Themes. This book unravels themes of art and creation amazingly, and I like how we discussed not only a beautiful side, but also an ugly one, including art obsession, or how art can be just a status thing for many.
I liked how Jarvis showed us Artemisia's journey and it touches me in many ways.
The book is character-focused and in this case, I feel like I wanted more of a plot, a thick thread that led me through the book. So if you prefer dynamic and plot-heavy books, maybe this one isn't for you.
Also, I'm surprised not in a good way by one minor decision at the end of the book. It's a little thing plot-wise, but for me, it felt like a contradiction to morals we discuss.
Aside from it, I don't have any complaints. It was captivating. If the idea of this book sounds tempting to you, then I recommend it.
I'm really grateful to Edelweiss+ and Titan Books for providing me with ARC.
June 25, 2024
Dnf. Got to about page 100, but it was just way too slow. This book had so much potential. “Babel meets the world of art” is how I was going into this book. However, I found it to be dragged on, the magic system small and very unexplained, and there wasn’t any characters I could connect with. There is a chance that, maybe, this book just isn’t for me. But I don’t see myself recommending this book to anyone in the future.
October 7, 2023
I think I should start with the things I liked about this book.
*spoilers ahead*
- The discussion set around academia and the devaluation of art, which becomes yet another good that can be sold and commercialized more often than not in favor of the pre-existing elite of greedy, rich men. It shows us the bleak reality of collectionism the moment it turns into worthless intellectualism.
The book does a good job criticizing power through this lense: those who hoard wealth (in this specific case art) become richer and wealthier and healthier while the majority of the population struggles and dies in poverty and sickness, thus building a narrative bridge between the fictional world in which Artemisia lives and the modern, global capitalist society that we inhabit.
Adding to this the theme of magics, a force that is closely related to art, worked greatly and forced the reader to consider what 'art' stands for and where does its value resides: Is it in magics? Is it connected to the names of the famous artists/saints that are worshipped in the city? Or does it come from something else entirely? An inherent value that has nothing to do with magic but it's just art as we know and feel it?
Most importantly, though, what the book asks is also this: to whom does art belong to, especially when it is imbued with healing and destructive powers alike?
The book builds an interesting discussion around this topic: Francesco, the wealthy merchant who smuggles art, argues that art shouldn't be hoarded in a city, and that there is a responding and growing market outside of Florence made of people who appreciate art and would valorize it (although one might argue that the art he smuggles would again end up being just another piece of ornament in a new aristocratic court). But he also argues for the value of art for art's sake, free of the constrictions of names and magics which often condemn art to anonimity and oblivion. Artemisia, on the other hand, argues in favor of the sanctity of art and speaks with the pride of an artist whose craft is deeply imbued in magic. She insists that art should be kept safe in Florence, where it belongs, but it's not easy to buy into her point of view when the reader knows what is happening to art: Silvestrini commissions painting to various artists and hoards them for their healing powers. He doesn't care about the subjects, the techniques or the artists themselves: the paintings he collects occupty every inch of his bedroom, from walls to floors, where they lay abandoned, utterly nameless, their only purpose that of healing him from sickness. The Vatican is known to have entire rooms filled with art, closed to the public, whose purpose is to tend to the health and the absurdly long lives of the clergy. The Accademia delle Arti della Magica prevents magic infused art from crossing city borders, but then hoards it in its own dungeons, as if from a self-appointed divine right that establishes that art belongs to artists and should be kept hidden and used to their advantage. All the while, those who are not part of the aristocratic or the artistic elite, live in fear of sickness and plagues and have to rely on the remaining healing power of the art still publicly displayed.
Another voice in this debate is Elisabetta's, who rejects art and artists entirely: their power is too strong and too untrustworthy and, when art is concerned, the bad always outweights the good.
I believe this to be a very interesting debate, one that, along with the question "to whom does art belong to?" echoes the many rising voices of academics that have recently been forcing their institutions to consider the interests of the public in the handling of art and cultural heritage and their responsibility in making sure that heritage is made accessible to the wider public or returned to its rightful owners.
- The discussion set around women in academia, an institution that is still notoriously run by men and in which women still face the ridicule and the struggles that Artemisia has to overcome by herself, first in trying to be recognized as an artist and as a member of the Accademia, and then after Caccini makes her his next target.
- Finally: the role of Galileo in Artemisia's life and the changes made to his own story, and the choice to focus entirely on Artemisia and Francesco's relationship without mentioning the man she was married off to after Tassi's assault.
However, there were also a few things I didn't really like, hence the low rating:
- I'm not a fan of this writing style. It felt too plain, there were too many repetitions (especially when it came to the use of italian swear words) and a few historical inaccuracies that still
weren't entirely excusable in a fantasy setting. All in all, it didn't feel the right register for a book set in 17th century Florence.
- The book is WAY TOO LONG: there's a big problem with the repetition of scenes and internal monologues that become almost unbearable in the second half of the book. The prose would have benefitted from the implementation of the "show don't tell" rule.
- I really enjoyed Artemisia's character, until conflict arose with Francesco, because then she instantly became insufferable.
I feel like the discussion around the smuggling thing could have been dealt in a more mature, more interesting way, especially since it brought to the surface a lot of fascinating topics on the values and ethics surrounding art.
The same goes for the whole thing after Caccini publicly accused her and she began losing all her patrons. Francesco offered to help and take care of the problem for her and she refused by saying that she didn't want his help, just to complain and accuse him of not being there for her in her trying times in the next breath. Like, girl: pick a side!
The same thing happens when Francesco comes back from his work travels and she gets mad at him for leaving, even though she previously said she had to force him to go because he wouldn't leave her. Unfortunately, I have zero patience for this kind of nonsense drama, especially when the book already feels to long and the dialogues ripetitive.
This was the first book I read by this author and I really enjoyed the idea behind the book, so I'll be checking out her other stories!
*spoilers ahead*
- The discussion set around academia and the devaluation of art, which becomes yet another good that can be sold and commercialized more often than not in favor of the pre-existing elite of greedy, rich men. It shows us the bleak reality of collectionism the moment it turns into worthless intellectualism.
The book does a good job criticizing power through this lense: those who hoard wealth (in this specific case art) become richer and wealthier and healthier while the majority of the population struggles and dies in poverty and sickness, thus building a narrative bridge between the fictional world in which Artemisia lives and the modern, global capitalist society that we inhabit.
Adding to this the theme of magics, a force that is closely related to art, worked greatly and forced the reader to consider what 'art' stands for and where does its value resides: Is it in magics? Is it connected to the names of the famous artists/saints that are worshipped in the city? Or does it come from something else entirely? An inherent value that has nothing to do with magic but it's just art as we know and feel it?
Most importantly, though, what the book asks is also this: to whom does art belong to, especially when it is imbued with healing and destructive powers alike?
The book builds an interesting discussion around this topic: Francesco, the wealthy merchant who smuggles art, argues that art shouldn't be hoarded in a city, and that there is a responding and growing market outside of Florence made of people who appreciate art and would valorize it (although one might argue that the art he smuggles would again end up being just another piece of ornament in a new aristocratic court). But he also argues for the value of art for art's sake, free of the constrictions of names and magics which often condemn art to anonimity and oblivion. Artemisia, on the other hand, argues in favor of the sanctity of art and speaks with the pride of an artist whose craft is deeply imbued in magic. She insists that art should be kept safe in Florence, where it belongs, but it's not easy to buy into her point of view when the reader knows what is happening to art: Silvestrini commissions painting to various artists and hoards them for their healing powers. He doesn't care about the subjects, the techniques or the artists themselves: the paintings he collects occupty every inch of his bedroom, from walls to floors, where they lay abandoned, utterly nameless, their only purpose that of healing him from sickness. The Vatican is known to have entire rooms filled with art, closed to the public, whose purpose is to tend to the health and the absurdly long lives of the clergy. The Accademia delle Arti della Magica prevents magic infused art from crossing city borders, but then hoards it in its own dungeons, as if from a self-appointed divine right that establishes that art belongs to artists and should be kept hidden and used to their advantage. All the while, those who are not part of the aristocratic or the artistic elite, live in fear of sickness and plagues and have to rely on the remaining healing power of the art still publicly displayed.
Another voice in this debate is Elisabetta's, who rejects art and artists entirely: their power is too strong and too untrustworthy and, when art is concerned, the bad always outweights the good.
I believe this to be a very interesting debate, one that, along with the question "to whom does art belong to?" echoes the many rising voices of academics that have recently been forcing their institutions to consider the interests of the public in the handling of art and cultural heritage and their responsibility in making sure that heritage is made accessible to the wider public or returned to its rightful owners.
- The discussion set around women in academia, an institution that is still notoriously run by men and in which women still face the ridicule and the struggles that Artemisia has to overcome by herself, first in trying to be recognized as an artist and as a member of the Accademia, and then after Caccini makes her his next target.
- Finally: the role of Galileo in Artemisia's life and the changes made to his own story, and the choice to focus entirely on Artemisia and Francesco's relationship without mentioning the man she was married off to after Tassi's assault.
However, there were also a few things I didn't really like, hence the low rating:
- I'm not a fan of this writing style. It felt too plain, there were too many repetitions (especially when it came to the use of italian swear words) and a few historical inaccuracies that still
weren't entirely excusable in a fantasy setting. All in all, it didn't feel the right register for a book set in 17th century Florence.
- The book is WAY TOO LONG: there's a big problem with the repetition of scenes and internal monologues that become almost unbearable in the second half of the book. The prose would have benefitted from the implementation of the "show don't tell" rule.
- I really enjoyed Artemisia's character, until conflict arose with Francesco, because then she instantly became insufferable.
I feel like the discussion around the smuggling thing could have been dealt in a more mature, more interesting way, especially since it brought to the surface a lot of fascinating topics on the values and ethics surrounding art.
The same goes for the whole thing after Caccini publicly accused her and she began losing all her patrons. Francesco offered to help and take care of the problem for her and she refused by saying that she didn't want his help, just to complain and accuse him of not being there for her in her trying times in the next breath. Like, girl: pick a side!
The same thing happens when Francesco comes back from his work travels and she gets mad at him for leaving, even though she previously said she had to force him to go because he wouldn't leave her. Unfortunately, I have zero patience for this kind of nonsense drama, especially when the book already feels to long and the dialogues ripetitive.
This was the first book I read by this author and I really enjoyed the idea behind the book, so I'll be checking out her other stories!
September 23, 2025
2.5⭐️
Iba a hacer una reseña completamente armada, pero me hartó tanto que ni tengo ganas de quejarme. El libro se vuelve repetitivo y aburrido antes del 50%. Los personajes secundarios no son malos, pero no aportan nada porque son planos. El sistema de magia estaba bien, pero tampoco fue una locura. Algunos diálogos y planteamientos eran demasiado modernos y medio que me sacaban de la idea de que estaba en la Florencia del siglo XVII. El romance tampoco me pareció tan wow como para que me moviera.
Me molesta más que nada que sigamos enfocándonos en el episodio de su violación y su juicio, haciendo que su vida y carrera gire en torno a ese trauma y a la "venganza", como si fuera lo único que la marcó. Tampoco entiendo el que se use a una persona que existió y se cambien cosas fundamentales de su biografía. Sí, existen las libertades creativas, pero cuando ya cambias cosas claves es medio raro. También es molesto que se siga perpetuando la idea de que fue la primera y única artista mujer, hubo antes que ella y había contemporáneas a ella.
Algún día escribiré algo más en profundidad sobre este libro, pero ese día no es hoy.
Iba a hacer una reseña completamente armada, pero me hartó tanto que ni tengo ganas de quejarme. El libro se vuelve repetitivo y aburrido antes del 50%. Los personajes secundarios no son malos, pero no aportan nada porque son planos. El sistema de magia estaba bien, pero tampoco fue una locura. Algunos diálogos y planteamientos eran demasiado modernos y medio que me sacaban de la idea de que estaba en la Florencia del siglo XVII. El romance tampoco me pareció tan wow como para que me moviera.
Me molesta más que nada que sigamos enfocándonos en el episodio de su violación y su juicio, haciendo que su vida y carrera gire en torno a ese trauma y a la "venganza", como si fuera lo único que la marcó. Tampoco entiendo el que se use a una persona que existió y se cambien cosas fundamentales de su biografía. Sí, existen las libertades creativas, pero cuando ya cambias cosas claves es medio raro. También es molesto que se siga perpetuando la idea de que fue la primera y única artista mujer, hubo antes que ella y había contemporáneas a ella.
Algún día escribiré algo más en profundidad sobre este libro, pero ese día no es hoy.
on-hold
June 8, 2025guys i was reading this and working out how i felt then i discovered a spider squashed between the pages?? like a big spider... i have no idea how it even got there... do i have to check all of my books for spiders?? 😭😓 so now i have to figure that out so i can return it to the LIBRARY.. help... so i guess it's on hold for now? xd
June 6, 2023
A Portrait in Shadow is a powerful alternative historical fiction set in Renaissance Florence.
It's the story of Artemisia Gentleschi. A young woman artist struggling to make her name in a man's world.
There's a great cast of characters, including Galileo Galilei and the Medici.
I had never heard of this artist before and found the little historical note at the end very informative.
It's the story of Artemisia Gentleschi. A young woman artist struggling to make her name in a man's world.
There's a great cast of characters, including Galileo Galilei and the Medici.
I had never heard of this artist before and found the little historical note at the end very informative.
November 5, 2023
A Portrait in Shadow is a historical fantasy novel that loosely follows the life of Artemisia Gentileschi, a renowned 17th century painter, who accomplished several firsts as a female painter. The first half is Artemisia at nineteen years old trying to establish herself in Florence. She paints, seeks out patrons, attempts to be accepted by the academy/guild of magical artists, and tries to earn enough to avoid literally being a starving artist. The latter half has a focus on romance, introspection, and conflict. This novel is about her daily life and the struggles she goes through. It's almost entirely character driven. As this is a fantasy novel, the few years of her life that are depicted are considerably different from what is thought to be known. These differences are explained to be because in this version of Earth, magic and mythical beasts exist.
Magic is either healing or necrotic. The passionate emotions that an artist imbues their art with determines its function. A work of art can either be bound to a single person or affect everyone in an area. The two most common healing properties are alleviating chronic ailments and life extension. As a result the wealthy and Vatican priests commonly live to be well over a hundred years old. Artists die young though because they must give away part of their soul for each magically imbued work of art they create. The more powerful the magic is, the more of their soul it costs. At the opposite end is necrotic magic, the most powerful of which caused the Black Plague. The Grave Age then followed where for centuries all artists were hunted down and killed out of fear that they would bring down more plagues upon the world. Even now, centuries after the Grave Age, any artist who is even accused of dabbling in the dark arts can lose their entire reputation and be tortured to death. The two most important beasts are the Griffon and the Blood Drake, which symbolize Good and Evil, and were nearly hunted to extinction in Europe during the Grave Age.
I read this because I'm reading a manga, Arte, that's inspired by the life of the same historical person. It's even further from her life, though that's because isn't meant to be her. I enjoyed this more than I thought I would. A lot of that is because I simply like how it's written. The romance of the latter half is a bit too saccharine and all the would-be sex scenes are fade to black, though I felt it did well enough. I'm conflicted about the purpose of changing so much and saying it's a different version of her rather than being an inspired character, but in this case I'll accept it. I had concerns about how meaningful the beasts and magic would be, but they're both organically integrated into the story in a pleasing way and matter a lot. There's also a considerable amount of sociological exploration concerning magic that I appreciated alongside the social commentary.
June 18, 2023
In a historical fantasy set in Florence, author Nicole Jarvis reinterprets the life of artist Artemisia Gentileschi. After being raped and suffering through a trial, Artemisia leaves Rome to start over in Florence. One of her first friends is Galileo Galilei and he tries to offer support as the all-male Accademia delle Art della Magica do not want to accept any female artists. In this Florence, painting has the ability to heal or harm and Donatello, with a statue, saved Florence from the plague, but died after putting his life force into it. Artemisia has to decide whether to try and hurt her rapist, accomplished artist Agostino Tassi with a painting, or refuse to give into her dark magic abilities. Readers will want to find the real Artemisia's artwork.
April 2, 2023
This book was... Alright, I guess?
I read it as part of one of my ongoing little insanities, while I was in Italy, because I always read a book that's set where I'm going if I'm travelling, because it really helps to put me in the place. Unfortunately, I didn't really get much of a sense of place from this. Florence itself takes more of a backseat to the plot, with events feeling like they could have happened anywhere. I never really got the feeling that Florence was a living, breathing city around Artemisia, even when the author went out of the way to include references to places and names from the period. Things happened, in the Florence of the book, certainly but because Artemisia was so determined to keep herself out of them, it wasn't something readers ever really got to experience.
The story itself moved pretty glacially for the majority of the book, with things mostly seeming to happen around Artemisia, as previously mentioned. It did pick up substantially in the 3rd act, which also happened to be the one I liked the best. (Is it perhaps rude of me to judge a character driven novel for not having more plot? It was CLEARLY supposed to be about Artemisia's emotional journey, and it's not the book's fault that I simply did not care.)
All these criticisms are starting to feel a bit harsh, so here's something positive: I adored the characters in this book, especially Artemisia and Galileo. I was quite pleased that he made it through the whole book, as I was familiar with his life beforehand and must admit was a touch concerned when he was introduced. I knew about Artemisia's history as well, and I was impressed with how it was woven into the story.
A solid read, overall, but not one that would have grabbed me if I hadnt been given it. 3.5/5 stars from me.
I read it as part of one of my ongoing little insanities, while I was in Italy, because I always read a book that's set where I'm going if I'm travelling, because it really helps to put me in the place. Unfortunately, I didn't really get much of a sense of place from this. Florence itself takes more of a backseat to the plot, with events feeling like they could have happened anywhere. I never really got the feeling that Florence was a living, breathing city around Artemisia, even when the author went out of the way to include references to places and names from the period. Things happened, in the Florence of the book, certainly but because Artemisia was so determined to keep herself out of them, it wasn't something readers ever really got to experience.
The story itself moved pretty glacially for the majority of the book, with things mostly seeming to happen around Artemisia, as previously mentioned. It did pick up substantially in the 3rd act, which also happened to be the one I liked the best. (Is it perhaps rude of me to judge a character driven novel for not having more plot? It was CLEARLY supposed to be about Artemisia's emotional journey, and it's not the book's fault that I simply did not care.)
All these criticisms are starting to feel a bit harsh, so here's something positive: I adored the characters in this book, especially Artemisia and Galileo. I was quite pleased that he made it through the whole book, as I was familiar with his life beforehand and must admit was a touch concerned when he was introduced. I knew about Artemisia's history as well, and I was impressed with how it was woven into the story.
A solid read, overall, but not one that would have grabbed me if I hadnt been given it. 3.5/5 stars from me.
November 8, 2023
So addictive.
Very much a female rage story and one that also triggered a lot of female rage within myself while reading.
Not fully content with how it came together at the end but definitely a lovely reading experience.
Very much a female rage story and one that also triggered a lot of female rage within myself while reading.
Not fully content with how it came together at the end but definitely a lovely reading experience.
April 8, 2024
A Portrait in Shadow by Nicole Jarvis - review
4.5⭐️
🫑
First of all, what an amazing story and it is told in such a beautiful way. I am obsessed with this story right now 🥰.
A Portrait in Shadow is the integrated history of Artemisia Gentileschi, the first female artist to be a part of the Accademia of Art in Florence, together with some fantastic elements. Though she really had to earn this place. It shows the hardships of being a woman in academia and having to work twice as hard as any man, just because she is a female artist in a male world.
The magical elements are also soo amazing! I just love how the artist can integrate healing magics into their art, but also necrotic magics. It is such a unique magic system. I also just love the symbolism of the power of art. Because in my opinion art can be very powerful even so that it can even feel like it is magical ✨.
The characters are written so beautifully and you can really feel the emotions history and debt behind them all. The anger and fury that burns in Artemisia is just written in a way that you can really feel it.
Further the research that has gone into writing this story is just soo amazing. I love that it is based on the real history of Artemisia Gentileschi. Especially as someone who loves art this book is amazing.
It makes me even more enthusiastic about her art pieces! I can just feel her history, emotions and feelings. I would love to see it in real life and visit a museum with a real Artemisia 💕.
4.5⭐️
🫑
First of all, what an amazing story and it is told in such a beautiful way. I am obsessed with this story right now 🥰.
A Portrait in Shadow is the integrated history of Artemisia Gentileschi, the first female artist to be a part of the Accademia of Art in Florence, together with some fantastic elements. Though she really had to earn this place. It shows the hardships of being a woman in academia and having to work twice as hard as any man, just because she is a female artist in a male world.
The magical elements are also soo amazing! I just love how the artist can integrate healing magics into their art, but also necrotic magics. It is such a unique magic system. I also just love the symbolism of the power of art. Because in my opinion art can be very powerful even so that it can even feel like it is magical ✨.
The characters are written so beautifully and you can really feel the emotions history and debt behind them all. The anger and fury that burns in Artemisia is just written in a way that you can really feel it.
Further the research that has gone into writing this story is just soo amazing. I love that it is based on the real history of Artemisia Gentileschi. Especially as someone who loves art this book is amazing.
It makes me even more enthusiastic about her art pieces! I can just feel her history, emotions and feelings. I would love to see it in real life and visit a museum with a real Artemisia 💕.
May 13, 2023
I absolutely adored the setting and the topic. (maybe I'm biased because I'm studying art history and had to do a presentation about all the churches in Florence last year 😂)
The magic system is quite subtle in this book and I like how it is incorporated.
I can't imagine to experience all the injustices that Artemisia went through and still come out strong at the end but I have to say that at some point her what several other reviewers coined female rage was a tad bit too much for me (otherwise I would have given the book 5 stars)
The magic system is quite subtle in this book and I like how it is incorporated.
I can't imagine to experience all the injustices that Artemisia went through and still come out strong at the end but I have to say that at some point her what several other reviewers coined female rage was a tad bit too much for me (otherwise I would have given the book 5 stars)
June 22, 2023
In an alternate past, artists pour a piece of their soul into their creations, providing healing or necrotic magic. In Florence, in the 17th century, a young female painter is confronted with her haunting past, prejudice, discrimination, and delusional men greedy for power. Through her struggles, she will realize her dream of being an established artist and reinvent herself.
Honestly, this book needs more hype!
Honestly, this book needs more hype!
May 28, 2025
3.5 stars
Dragged a bit in the middle. You can see the Jarvis' love for Artemisia Gentileschi and how much research she did for this book. It makes me want to learn more about her and art in Florence during the early 1600s.
Dragged a bit in the middle. You can see the Jarvis' love for Artemisia Gentileschi and how much research she did for this book. It makes me want to learn more about her and art in Florence during the early 1600s.
December 27, 2023
Oh my god slay
September 10, 2024
Loveeee that it’s a fantasy book with my favourite artist and painting as the main character and plot. Bit slow at times but still so good. And the plot is so similar to the history too!! Eeee :))
July 17, 2023
I absolutely adored this book; do not miss it! My blurb is below:
"A Portrait in Shadow is a thrilling and sparkling reimagining of painter Artemisia Gentileschi’s years in Florence, and Nicole Jarvis deftly takes us inside the life and heart of one of art history’s great masters. Set against a rich magical world as skillfully drawn as one of Gentileschi’s own paintings, this exceptional novel is a testament to the power of art, the historical struggle and resilience of women, and what it can cost an artist to create her work. A Portrait in Shadow is absolutely a new favorite book of mine!"
"A Portrait in Shadow is a thrilling and sparkling reimagining of painter Artemisia Gentileschi’s years in Florence, and Nicole Jarvis deftly takes us inside the life and heart of one of art history’s great masters. Set against a rich magical world as skillfully drawn as one of Gentileschi’s own paintings, this exceptional novel is a testament to the power of art, the historical struggle and resilience of women, and what it can cost an artist to create her work. A Portrait in Shadow is absolutely a new favorite book of mine!"
May 22, 2023
"A Portrait in Shadow" offers brilliant writing, characters, and plot. But what got me more than anything else was the stunning atmosphere of the book. It is so solid and rich and real - and more than a little bit beautiful. The fantasy element entwines so perfectly with the setting. Many, many more books please, Nicole Jarvis!
My thanks to the author, publisher, and NetGalley. This review was written voluntarily and is entirely my own, unbiased, opinion.
My thanks to the author, publisher, and NetGalley. This review was written voluntarily and is entirely my own, unbiased, opinion.
May 15, 2023
I loved this story and the emotional journey we travelled with Artemisia. I find myself thinking of her struggles days after I finished reading. A true sign of a great book.
September 13, 2023
An interesting idea butchered by terrible dialogue and explaining to death every thought the character has.
April 27, 2023
{AD|GIFTED} I went into this not realising it was historical fantasy but fell in love with the story and its main character, Artemisia Gentileschi. I knew a little about Gentileschi before reading and now I know so much more. The author's characterisation of the painter is unapologetically fierce, ambitious and angry. She's a complex character trying to heal from trauma and make a name for herself in Florence, all whilst fighting against sexism, misogyny, religion, and the power held by the wealthy.
The prose is often as angry as Artemesia herself; it's punchy, passionate and sharp. I ended up reading this book in a couple of sittings as I was completely immersed in seventeenth-century Florence. The setting was atmospheric and evocative, leaving me hoping I can finally visit the city one day.
The wider cast of characters was also beautifully portrayed. Artemisia's friendships with Elizabetta, Maurizio and Galileo were some of my favourite aspects of the novel, as well as her growing romance with Francesco. The book always remained focused on the genius and determination of Artemisia though and the romance never overshadowed this. If you're looking for a book that will sweep you away to another time and place, I would definitely recommend this unforgettable novel.
The prose is often as angry as Artemesia herself; it's punchy, passionate and sharp. I ended up reading this book in a couple of sittings as I was completely immersed in seventeenth-century Florence. The setting was atmospheric and evocative, leaving me hoping I can finally visit the city one day.
The wider cast of characters was also beautifully portrayed. Artemisia's friendships with Elizabetta, Maurizio and Galileo were some of my favourite aspects of the novel, as well as her growing romance with Francesco. The book always remained focused on the genius and determination of Artemisia though and the romance never overshadowed this. If you're looking for a book that will sweep you away to another time and place, I would definitely recommend this unforgettable novel.
May 5, 2023
5.5 / 10 ✪
https://arefugefromlife.wordpress.com...
Enter the world of baroque Florence; a golden age of art and design sandwiched between two plagues. After the waning of the Renaissance and before the engines that drove the Industrial Revolution, the Tuscan city sought for its purpose in a time of uncertainty and upheaval, where fame was not given but won, and stars burned bright but did not last long.
Artemisia Gentileschi arrives in Florence from Roma, in search of better fortunes. But here she finds only condemnation from the Accademia due to her age, her sex, and her status as an unmarried woman. Indeed, likely one of these would be enough, but as a woman, she never stood a chance.
Alone and penniless, she must fight for every commission, scraping together a name for herself out of nothing. That is, until she turns the heads of a few notable citizens. Galileo, Michelangelo the Younger, the Duchess Medici—even with allies like these at her back it’s still an uphill struggle, and the deck is quite stacked against her. And when a fiery priest turns his ire on her, it is all Artemisia can do to continue, let alone survive in a city that sits at its turning point—whether to be for or against her none can tell.
—
“I can’t be what you want me to be.”
“I want you to be you,” he said. “Like I said before, if you don’t want me, just tell me. But don’t make my decisions for me.”
—
For as thorough and hauntingly beautiful a recreation of 17th century Florence A Portrait in Shadow provides, it’s a shame that nothing really happens to show of the setting. I mean, occasionally the characters will mill around one of the many markets, or mill around the Duomo, or wander over to admire the Palazzo. But of course, they also wander around the lesser known parts of the city, stop to take in a lecture at the Accademia, or mill about the Santa Maria Novella. So, in short, the meat of this book is a bit dry. In fact, even when the plot gets exciting, I still found it a bit dry. The story itself is a dreary, political and historical fantasy, regarding post-Renaissance Florence.
Artemisia Gentileschi is an interesting character. And by “interesting”, I don’t mean good. In fact, I found her to be a horrible person—which was somewhat of a theme in this novel.
A young, unmarried artist in an age dominated by men, Artemisia has to fight tooth and claw for everything, “impeded” as she is by being born a woman. I honestly have no idea how much of a struggle it must have been, making your fame in a world that sees you as little more than someone else’s misplaced property and future kiln. But even as strong as my sympathy was for Artemisia at the outset, her character—as written, of course—tends to disappoint. She is exceedingly proud and arrogant to the point of vanity; full of herself while being dismissive of the abilities of any of her fellow students. In fact, those friends that she does make seem to have one thing in common—they love her artwork. Now it’s a mark of a good friend to be supportive, but Artemisia seems to shun those that don’t shower her with praise. Only positive feedback; no dissent accepted. This trait also extends to her private life, treating her paramour like shit even as he bends over backwards for her. There’s one instance where he doesn’t tell her the whole truth and she gets upset breaks it off and forces him to beg for her forgiveness, all while continuing to repeatedly lie to him right up to the very end.
That being said, it’s not that Artemisia is written poorly, it’s just that I didn’t relate well to her character. No, the writing of the book is fine—more than, even. The plot and setting being both intricate and lovingly woven so that A Portrait doesn’t resemble a record of events as it does a visual tapestry—beautiful and evocative in equal measure. As much as I found the… textures of the tale rather dull, I never had any trouble imagining the time period. It’s just that with the beautifully rendered city of Florence as a playground, I had issues focusing on the rather lackluster plot.
Let’s quickly address the magic system. It’s a subtle addition, though central to the plot. In this version of history, an artist can imbue their creation with magic—of one of two forms. There is pure, healing magic, and dark, necrotic magic. Both are incorporated into the piece via the paint (or oil or marble or clay or whatnot), coming from the artist’s very soul. In essence, a piece gains its ability to cure or kill from its artist literally siphoning off part of their soul to use in its creation. A piece they won’t get back, mind. In this Florence, there’s more than one reason that artists tend to die young. In terms of a magic system I found it interesting if incomplete. Unique, or at least uncommon, but not yet fully realized.
TL;DR
All in all, A Portrait in Shadow ended up being a bit of a mixed bag for me. Yes, it has its pros. And yeah, it has its cons. I’m not sure how it all works out in the grand scheme of things, but I do know that I can’t very well recommend a book where—while I loved its baroque setting and evocative writing—I hated the lead and found the story itself to be mind-numbingly dull. This is my second book by the author, following up the lovely Lights of Prague from 2021. And where I understand that not every book is improved with the addition of vampires, that is something I’d recommend here.
https://arefugefromlife.wordpress.com...
Enter the world of baroque Florence; a golden age of art and design sandwiched between two plagues. After the waning of the Renaissance and before the engines that drove the Industrial Revolution, the Tuscan city sought for its purpose in a time of uncertainty and upheaval, where fame was not given but won, and stars burned bright but did not last long.
Artemisia Gentileschi arrives in Florence from Roma, in search of better fortunes. But here she finds only condemnation from the Accademia due to her age, her sex, and her status as an unmarried woman. Indeed, likely one of these would be enough, but as a woman, she never stood a chance.
Alone and penniless, she must fight for every commission, scraping together a name for herself out of nothing. That is, until she turns the heads of a few notable citizens. Galileo, Michelangelo the Younger, the Duchess Medici—even with allies like these at her back it’s still an uphill struggle, and the deck is quite stacked against her. And when a fiery priest turns his ire on her, it is all Artemisia can do to continue, let alone survive in a city that sits at its turning point—whether to be for or against her none can tell.
—
“I can’t be what you want me to be.”
“I want you to be you,” he said. “Like I said before, if you don’t want me, just tell me. But don’t make my decisions for me.”
—
For as thorough and hauntingly beautiful a recreation of 17th century Florence A Portrait in Shadow provides, it’s a shame that nothing really happens to show of the setting. I mean, occasionally the characters will mill around one of the many markets, or mill around the Duomo, or wander over to admire the Palazzo. But of course, they also wander around the lesser known parts of the city, stop to take in a lecture at the Accademia, or mill about the Santa Maria Novella. So, in short, the meat of this book is a bit dry. In fact, even when the plot gets exciting, I still found it a bit dry. The story itself is a dreary, political and historical fantasy, regarding post-Renaissance Florence.
Artemisia Gentileschi is an interesting character. And by “interesting”, I don’t mean good. In fact, I found her to be a horrible person—which was somewhat of a theme in this novel.
A young, unmarried artist in an age dominated by men, Artemisia has to fight tooth and claw for everything, “impeded” as she is by being born a woman. I honestly have no idea how much of a struggle it must have been, making your fame in a world that sees you as little more than someone else’s misplaced property and future kiln. But even as strong as my sympathy was for Artemisia at the outset, her character—as written, of course—tends to disappoint. She is exceedingly proud and arrogant to the point of vanity; full of herself while being dismissive of the abilities of any of her fellow students. In fact, those friends that she does make seem to have one thing in common—they love her artwork. Now it’s a mark of a good friend to be supportive, but Artemisia seems to shun those that don’t shower her with praise. Only positive feedback; no dissent accepted. This trait also extends to her private life, treating her paramour like shit even as he bends over backwards for her. There’s one instance where he doesn’t tell her the whole truth and she gets upset breaks it off and forces him to beg for her forgiveness, all while continuing to repeatedly lie to him right up to the very end.
That being said, it’s not that Artemisia is written poorly, it’s just that I didn’t relate well to her character. No, the writing of the book is fine—more than, even. The plot and setting being both intricate and lovingly woven so that A Portrait doesn’t resemble a record of events as it does a visual tapestry—beautiful and evocative in equal measure. As much as I found the… textures of the tale rather dull, I never had any trouble imagining the time period. It’s just that with the beautifully rendered city of Florence as a playground, I had issues focusing on the rather lackluster plot.
Let’s quickly address the magic system. It’s a subtle addition, though central to the plot. In this version of history, an artist can imbue their creation with magic—of one of two forms. There is pure, healing magic, and dark, necrotic magic. Both are incorporated into the piece via the paint (or oil or marble or clay or whatnot), coming from the artist’s very soul. In essence, a piece gains its ability to cure or kill from its artist literally siphoning off part of their soul to use in its creation. A piece they won’t get back, mind. In this Florence, there’s more than one reason that artists tend to die young. In terms of a magic system I found it interesting if incomplete. Unique, or at least uncommon, but not yet fully realized.
TL;DR
All in all, A Portrait in Shadow ended up being a bit of a mixed bag for me. Yes, it has its pros. And yeah, it has its cons. I’m not sure how it all works out in the grand scheme of things, but I do know that I can’t very well recommend a book where—while I loved its baroque setting and evocative writing—I hated the lead and found the story itself to be mind-numbingly dull. This is my second book by the author, following up the lovely Lights of Prague from 2021. And where I understand that not every book is improved with the addition of vampires, that is something I’d recommend here.
August 29, 2023
Who has heard of the painting, Judith Beheading Holofernes? It is a gruesome enough image, of two women hacking the man's bloodied head off as he struggles in agony.
This story is based upon the true story of artist Artemisia Gentileschi, who lived in the 1500's. The Renaissance had not quite begun, as Gentileschia's friend Galileo was successfully gagged by the Church for daring to suggest that the Sun orbited the Earth, and not the other way round.
The story is true to a lot of what actually did happen to this genius, who was already accomplished in the footsteps of Caravaggio by the time she was in her mid teens. That gift is how Gentileschia did acquire such wealthy patrons on moving to Florence from her native Rome, and bring the first woman to enter the academia there, to bring her still more fame and fortune. Something else, however, is also true to this woman's biography: that she was also raped as a teen by another artist, and that her flatmate sat back and did nothing about it.
The Gentileschia of this novel may or may not have pursued her revenge against her attacker - that is still up for academic debate. In the story though, the painting of Judith hacking off the head off the hapless Holofernes is more than artistic revenge, it is about sorcery too.
For in this novel, all artists are magicians.
Mostly, the magic artists bring to their work is benign, used for healing and bestowing longevity. That is why the Vatican and rich families collect it, it extends their lives by about 30 years.
The enchantment used in a painting such as the Holofernes in this tale is definitely not about white magic. It is about magic that can destroy and even kill.
This author is excellent in allowing the reader to understand Gentileschia, the hardships she faces to be recognised in a man's world. Possibly, it should be enough for any artist to enjoy creating, exercising their god - given talents. But Gentileschia has to eat and has rent to pay, not wishing to be kept in marriage. Gentileschia knows she is gifted, and wants to know why she cannot be recognised, enjoy the blessing of institutions such as the church and academies in the same way a man can. Instead, rejection, humiliation and betrayal dog her footsteps continuously.
She has an ego. She wants recognition. She does not appreciate being rejected on the basis of her gender, nor on the basis of who she knows, or doesn't know.
All this makes the temptation to turn to revenge supremely understandable.
In keeping with the magic realism of Jarvis's Gentileschia, mythical animals such as a griffon and a black drake appear almost as talismen in the course of her fortunes - and misfortunes. The language possesses an almost Anne Rice-like sensuality - Italians even then didn't just appreciate good art, they enjoyed delicious food and drink too - all the more tempting to an artist who was sometimes starving.
How Gentileschia chooses to deal with her feelings of injustice and setbacks is something the reader will have to find out for themselves. Hopefully there will be more from Jarvis - this novel did not feel like a paint-by-numbers composition on how to write best-sellers from any writing academy - it seems instead to have come from the heart.
This story is based upon the true story of artist Artemisia Gentileschi, who lived in the 1500's. The Renaissance had not quite begun, as Gentileschia's friend Galileo was successfully gagged by the Church for daring to suggest that the Sun orbited the Earth, and not the other way round.
The story is true to a lot of what actually did happen to this genius, who was already accomplished in the footsteps of Caravaggio by the time she was in her mid teens. That gift is how Gentileschia did acquire such wealthy patrons on moving to Florence from her native Rome, and bring the first woman to enter the academia there, to bring her still more fame and fortune. Something else, however, is also true to this woman's biography: that she was also raped as a teen by another artist, and that her flatmate sat back and did nothing about it.
The Gentileschia of this novel may or may not have pursued her revenge against her attacker - that is still up for academic debate. In the story though, the painting of Judith hacking off the head off the hapless Holofernes is more than artistic revenge, it is about sorcery too.
For in this novel, all artists are magicians.
Mostly, the magic artists bring to their work is benign, used for healing and bestowing longevity. That is why the Vatican and rich families collect it, it extends their lives by about 30 years.
The enchantment used in a painting such as the Holofernes in this tale is definitely not about white magic. It is about magic that can destroy and even kill.
This author is excellent in allowing the reader to understand Gentileschia, the hardships she faces to be recognised in a man's world. Possibly, it should be enough for any artist to enjoy creating, exercising their god - given talents. But Gentileschia has to eat and has rent to pay, not wishing to be kept in marriage. Gentileschia knows she is gifted, and wants to know why she cannot be recognised, enjoy the blessing of institutions such as the church and academies in the same way a man can. Instead, rejection, humiliation and betrayal dog her footsteps continuously.
She has an ego. She wants recognition. She does not appreciate being rejected on the basis of her gender, nor on the basis of who she knows, or doesn't know.
All this makes the temptation to turn to revenge supremely understandable.
In keeping with the magic realism of Jarvis's Gentileschia, mythical animals such as a griffon and a black drake appear almost as talismen in the course of her fortunes - and misfortunes. The language possesses an almost Anne Rice-like sensuality - Italians even then didn't just appreciate good art, they enjoyed delicious food and drink too - all the more tempting to an artist who was sometimes starving.
How Gentileschia chooses to deal with her feelings of injustice and setbacks is something the reader will have to find out for themselves. Hopefully there will be more from Jarvis - this novel did not feel like a paint-by-numbers composition on how to write best-sellers from any writing academy - it seems instead to have come from the heart.
June 15, 2025
In this alternative historical fantasy, artists are commissioned and paid generously to literally imbue a bit of their soul into their art, for the purposes of healing the elite and granting them longevity. Artists can also imbue necrotic magics into their artworks—in both cases, it can cost the artist and shorten their lifespan. This is a sacrifice many of them are willing to make for long-lasting legacies. For Artemisia, being a “fallen” woman because of Tassi’s violation, the politics of Church, and artistry coalesce against her and she finds herself ensnared in a plot that could set artists back to the age of their persecution for their magical capabilities. The potential for a self-healing journey does enter her life in the form of her new friends Maurizio (her model), Elizabetta (a herbalist), and Francesco (a rich young merchant who falls in love with her), but Artemisia is bent on revenge against Tassi and against men who continue to get in her way. If she is going to shorten her own lifespan as an artist, she might as well bring her enemies down with her.
A PORTRAIT IN SHADOW took a while for me to properly get into, in part because it felt like it was doing too much at once—is this a critique of the way the rich hoard all the resources that should’ve been distributed to the poor as well (i.e., the ones who need it more and can’t afford it)? Is it about the meddling of a corrupted religious figure into matters of governance that shouldn’t concern him? Is it an allegory about the exploitation of artists for their passion? Is it about one’s journey of healing from trauma and how the answer isn’t revenge, but a circle of friends who look after you and will hold you accountable for doing something wrong? The answer is probably all of these, but because they are all vying with each other at times, the idea can get muddled for a while. It was about halfway into this book that I started to really get into it. I would’ve liked a little more spotlight on the elite hoarding art like they hoard wealth for their own selfish gains, but perhaps then this wouldn’t be Artemisia’s story anymore. In the end, she is a young woman who has had to leave her home behind to make a fresh beginning and a name for herself in a scene that refuses to recognise and acknowledge the abilities of women.
A PORTRAIT IN SHADOW took a while for me to properly get into, in part because it felt like it was doing too much at once—is this a critique of the way the rich hoard all the resources that should’ve been distributed to the poor as well (i.e., the ones who need it more and can’t afford it)? Is it about the meddling of a corrupted religious figure into matters of governance that shouldn’t concern him? Is it an allegory about the exploitation of artists for their passion? Is it about one’s journey of healing from trauma and how the answer isn’t revenge, but a circle of friends who look after you and will hold you accountable for doing something wrong? The answer is probably all of these, but because they are all vying with each other at times, the idea can get muddled for a while. It was about halfway into this book that I started to really get into it. I would’ve liked a little more spotlight on the elite hoarding art like they hoard wealth for their own selfish gains, but perhaps then this wouldn’t be Artemisia’s story anymore. In the end, she is a young woman who has had to leave her home behind to make a fresh beginning and a name for herself in a scene that refuses to recognise and acknowledge the abilities of women.
This entire review has been hidden because of spoilers.
May 11, 2023
I read the Lights of Prague a while back and loved it. So I put this historical fantasy (Renaissance Florence in the time of the Medicis and Michaelangelo) instantly on my TBR pile where it languished...mostly because my library didn't carry it and there was no ebook version to buy. Thankfully, an ebook version just came out so I was able to buy and read it.
Jarvis definitely does her research. Details of food, religious prayer, fabrics, paintbrush styles, glueing of canvas before oils, and of course famous historical figures such as Galileo, Michaelangelo, fiery priests, etc. all come alive. Even historical details that never were...like the burning of artists during the Grave Age after an artist-witch made plague swept through Europe seem real and a logical part of history.
This is Renaissance Florence where artists literally make magic by painting it on canvas (or sculpting it into marble). And into this male-dominated world of artists and patrons comes Artemisia Gentileschi, a real historical figure, who is escaping from scandal and tragedy in Rome to be a penniless artist in a sketchy neighborhood in Florence.
She is talented, and catches the eye not only of the Medicis, but also the ear of scientist and philosopher Galileo Galilei, who gives her entre to a glittering world of power...as long as she paints her own vitality into the portraits commissioned.
Along the way, she makes friends: a market herbalist, an orchard worker who serves as her model, Galileo, and a friendly, teasing merchant who keeps popping up.
But she'll also make enemies, an influential Florence artist in the Artist Accademia who thinks her very existence will ruin art, and a fiery preacher out for notoriety and power.
But mostly Artemesia's story is about wanting more-- more than just what is allowed women and to be seen and heard when a victim of crime. And art, and what kind of legacy we are allowed to have.
Jarvis definitely does her research. Details of food, religious prayer, fabrics, paintbrush styles, glueing of canvas before oils, and of course famous historical figures such as Galileo, Michaelangelo, fiery priests, etc. all come alive. Even historical details that never were...like the burning of artists during the Grave Age after an artist-witch made plague swept through Europe seem real and a logical part of history.
This is Renaissance Florence where artists literally make magic by painting it on canvas (or sculpting it into marble). And into this male-dominated world of artists and patrons comes Artemisia Gentileschi, a real historical figure, who is escaping from scandal and tragedy in Rome to be a penniless artist in a sketchy neighborhood in Florence.
She is talented, and catches the eye not only of the Medicis, but also the ear of scientist and philosopher Galileo Galilei, who gives her entre to a glittering world of power...as long as she paints her own vitality into the portraits commissioned.
Along the way, she makes friends: a market herbalist, an orchard worker who serves as her model, Galileo, and a friendly, teasing merchant who keeps popping up.
But she'll also make enemies, an influential Florence artist in the Artist Accademia who thinks her very existence will ruin art, and a fiery preacher out for notoriety and power.
But mostly Artemesia's story is about wanting more-- more than just what is allowed women and to be seen and heard when a victim of crime. And art, and what kind of legacy we are allowed to have.
June 25, 2025
"Better to be beholden to a patron for one painting than tied to a husband for the rest of her life."
This is the second book that I've read with Artemisia Gentileschi's life as the main subject (the first being 'Disobedient' by Elizabeth Fremantle, which is excellent), and what surprised me was the choice to include magic in a 1600s setting and tie it to large-scale historical events like the bubonic plague. I was also surprised by how much I ended up liking the story even though I don't usually like AU fanfic-ish works because it is not easy to use such old material well, but the story here was original and genuinely exciting.
In this world, what makes an artist a true one is the ability to infuse healing magic into their paintings, although the process leeches life from the painters themselves. There are magical creatures like griffons and blood drakes who are attracted to the blood of magic users. The elites use their wealth to amass paintings to preserve their own health and longevity (what's new?). However, artists themselves are not given special status because there were past artists who used necrotic art for murder, hence the conservative pulpit-smashing members of the Church seek to fully control or censor art. Granted, they also rejected Galileo's theories about a heliocentric solar system.
Artemisia must work extremely hard to make a living and a name for herself as a woman artist, all the while battling sexist bigots who use her ignominious past against her. The reader can't help but feel for her through her trials and tribulations, and when she finds community (starting with a gay bar, lol), I was so relieved that she had people to remind her to eat. She finally claws her way to the top only to have everything she worked for taken away by horrible men. Instead of backing down, she risks life and limb to expose a major conspiracy.
This is the second book that I've read with Artemisia Gentileschi's life as the main subject (the first being 'Disobedient' by Elizabeth Fremantle, which is excellent), and what surprised me was the choice to include magic in a 1600s setting and tie it to large-scale historical events like the bubonic plague. I was also surprised by how much I ended up liking the story even though I don't usually like AU fanfic-ish works because it is not easy to use such old material well, but the story here was original and genuinely exciting.
In this world, what makes an artist a true one is the ability to infuse healing magic into their paintings, although the process leeches life from the painters themselves. There are magical creatures like griffons and blood drakes who are attracted to the blood of magic users. The elites use their wealth to amass paintings to preserve their own health and longevity (what's new?). However, artists themselves are not given special status because there were past artists who used necrotic art for murder, hence the conservative pulpit-smashing members of the Church seek to fully control or censor art. Granted, they also rejected Galileo's theories about a heliocentric solar system.
Artemisia must work extremely hard to make a living and a name for herself as a woman artist, all the while battling sexist bigots who use her ignominious past against her. The reader can't help but feel for her through her trials and tribulations, and when she finds community (starting with a gay bar, lol), I was so relieved that she had people to remind her to eat. She finally claws her way to the top only to have everything she worked for taken away by horrible men. Instead of backing down, she risks life and limb to expose a major conspiracy.
March 3, 2025
I received this book as part of a mystery book subscription. This book was not something I would have ordinarily chosen for myself to read.
The story is split into three parts, each dedicated to a number of months in the life of our main character, artist Artemisia Gentileschi (15 months, 7 months, and 4 months, respectively).
We joined the MC in the 17th century after she fled to Florence from Rome due to a traumatic experience. After the resulting humiliating court case, refusal to be married off in order to save both herself and her fathers reputation, Artemisia's only way out is to leave.
Fleeing to Florence, Artemisia has to struggle in a world and time that is very male dominated. In a time when female artists are not taken seriously. As she fights to prove her worth, pouring her magic healing into her paintings, she struggles to control her need for revenge against the man in Rome.
We follow Artemsia as she gains allies in high places and forms strong friendship bonds. But will she gain the approval she desperately needs and deserves to be enrolled into the all-male Accademia, the first female to be named alongside the best artists. Or will her inability to heal from the past and her burning desire for revenge take over, her magics turning and destroying herself in the process.
I did find this story very interesting. Artemisia herself was infact a real painter of the time, and parts of the story stem from her real-life experiences. Including many of the characters we come across. At times, I did feel the book was a little slow and dragged out in places. However, the ending was very good and was one I hadn't seen coming.
The story is split into three parts, each dedicated to a number of months in the life of our main character, artist Artemisia Gentileschi (15 months, 7 months, and 4 months, respectively).
We joined the MC in the 17th century after she fled to Florence from Rome due to a traumatic experience. After the resulting humiliating court case, refusal to be married off in order to save both herself and her fathers reputation, Artemisia's only way out is to leave.
Fleeing to Florence, Artemisia has to struggle in a world and time that is very male dominated. In a time when female artists are not taken seriously. As she fights to prove her worth, pouring her magic healing into her paintings, she struggles to control her need for revenge against the man in Rome.
We follow Artemsia as she gains allies in high places and forms strong friendship bonds. But will she gain the approval she desperately needs and deserves to be enrolled into the all-male Accademia, the first female to be named alongside the best artists. Or will her inability to heal from the past and her burning desire for revenge take over, her magics turning and destroying herself in the process.
I did find this story very interesting. Artemisia herself was infact a real painter of the time, and parts of the story stem from her real-life experiences. Including many of the characters we come across. At times, I did feel the book was a little slow and dragged out in places. However, the ending was very good and was one I hadn't seen coming.
May 11, 2024
This book was a very pleasant surprise. What intrigued me to begin with was the magic system (healing-imbued paintings) within the story, but Jarvis' writing is clear and emphatic enough to hook your attention. I read about a fourth of the book in one sitting. I did not realize that the protagonist was in fact a historical figure (in fact, I thought the idea of a woman being so independent during this time in history quite unbelievable). She lived quite an interesting life and rubbed elbows with the likes of Galileo, Michelangelo the Younger, and Cosimo de Medici. Small wonder the author thought her a fitting figure to write this story around.
At the heart of things, this novel explores power, religion, and how both can bend people's morals or their understanding of the world around them. It's also an ode to the craftsmen and artisans who pour their heart out into works that mostly do not stand the test of time, even if they find a patron or recipient who appreciates their value. Naturally, it is also a rallying cry for feminists who today may take for granted the fact that even in the world of art, women were gatekept from gainfully participating and learning the trade.
All in all very satisfying. I would recommend this one for any reader interested in historical fantasy, political intrigue, and revenge stories.
At the heart of things, this novel explores power, religion, and how both can bend people's morals or their understanding of the world around them. It's also an ode to the craftsmen and artisans who pour their heart out into works that mostly do not stand the test of time, even if they find a patron or recipient who appreciates their value. Naturally, it is also a rallying cry for feminists who today may take for granted the fact that even in the world of art, women were gatekept from gainfully participating and learning the trade.
All in all very satisfying. I would recommend this one for any reader interested in historical fantasy, political intrigue, and revenge stories.
July 5, 2023
Maaaaaaaaaaaaaaan, what a concept! This scratched not only my Renaissance Italy and Artemisia Gentileschi itch, but also served another version of my beloved "magical fantasy healer" trope that, maybe, exposes the fact that contemporary health workers endanger their own health for their patients' benefit. Maybe.
And yes, the protagonist is the Artemisia Gentileschi of world fame and renown, if you can live with some biographical freedoms the author took to tell a more steamlined story. Since in this fantasy version of Medici-ruled Florence, and all across Italy, artists can imbue their works with their own life-force, to extend their wealthy patrons' lifespans or alleviate chronic complaints the way no physician could, in exchange for the shortening of the artist's own life - but isn't that a small price to pay for a place in the Florentine Accademia and a possible canonization as an artist-saint?
It could be so easy for any man, but Artermisia - young, newly-arrived in the city, and with gossip about a Roman rape trial following her like the hounds of hell - struggles to make a name of herself despite her obvious skills. She does anything she can to gain entry into the hallowed halls and become a sanctioned member of the Accademia, exerting herself in her attempts to keep deadlines and attract new commissions. But deep down, she also thirsts for revenge against her assailant... For the powers that grant health can surely also take it away.
This is a very me kind of book, with only a few minor criticisms I can voice. One, the pacing could be a little more refined, and two, there is still more telling than showing going on in Jarvis' book #2. But when I look at the lovely romance A Portrait in Shadow delivers, or the author's very clear understanding of an artist's way of thought and self-perception, I really don't mind that much at all. In fact, I would love a whole series of this - looking not only at the mastery of painting, but also sculpture and tapestry.
I slurped this up like is cream on a hot August day, and if it wasn't perfect, that's not to say Jarvis won't create something perfect to me one day soon. Read this.
***I received a digital copy from the publisher through Edelweiss in exchange for an honest review.***
And yes, the protagonist is the Artemisia Gentileschi of world fame and renown, if you can live with some biographical freedoms the author took to tell a more steamlined story. Since in this fantasy version of Medici-ruled Florence, and all across Italy, artists can imbue their works with their own life-force, to extend their wealthy patrons' lifespans or alleviate chronic complaints the way no physician could, in exchange for the shortening of the artist's own life - but isn't that a small price to pay for a place in the Florentine Accademia and a possible canonization as an artist-saint?
It could be so easy for any man, but Artermisia - young, newly-arrived in the city, and with gossip about a Roman rape trial following her like the hounds of hell - struggles to make a name of herself despite her obvious skills. She does anything she can to gain entry into the hallowed halls and become a sanctioned member of the Accademia, exerting herself in her attempts to keep deadlines and attract new commissions. But deep down, she also thirsts for revenge against her assailant... For the powers that grant health can surely also take it away.
This is a very me kind of book, with only a few minor criticisms I can voice. One, the pacing could be a little more refined, and two, there is still more telling than showing going on in Jarvis' book #2. But when I look at the lovely romance A Portrait in Shadow delivers, or the author's very clear understanding of an artist's way of thought and self-perception, I really don't mind that much at all. In fact, I would love a whole series of this - looking not only at the mastery of painting, but also sculpture and tapestry.
I slurped this up like is cream on a hot August day, and if it wasn't perfect, that's not to say Jarvis won't create something perfect to me one day soon. Read this.
***I received a digital copy from the publisher through Edelweiss in exchange for an honest review.***
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