A new exhibition has opened at the Casa Buonarroti in Florence, the former home of the famed Italian Renaissance artist Michelangelo, which was converted into a museum by his nephew, Michelangelo Buonarroti the Younger. The exhibition is titled ‘Artemisia in the Museum of Michelangelo’ and celebrates the work of the Baroque artist Artemisia Gentileschi.

A year-long research project called ‘Artemisia UpClose’ has led to this exhibition, in which a ceiling painting by Gentileschi has been restored. The painting, titled ‘Allegory of Inclination’, was commissioned by Michelangelo’s nephew in 1618 to illustrate Michelangelo’s inclination for artistic creation. Originally, it depicted a naked female figure holding a compass. In 1684, Michelangelo’s great-nephew, Leonardo da Buonarroti, hired the artist Baldassare Franceschini, called “Il Volterrano” to paint drapery over the figure in order to “preserve the modesty of the female inhabitants of the house”.

Now, Artemisia’s true vision for the painting has been revealed using digital imaging technology. A digital version of the painting has been created, with the drapery removed. Funded by the non-profit company Calliope Arts – an organisation which aims to promote and expand “public knowledge and appreciation of art, literature and social history from a female perspective, through restorations, exhibitions, education and cultural initiatives” – a team of conservators worked to both restore the original painting, and use scientific tools to uncover the original composition and create a digital version of it to be displayed in the exhibition alongside the painting. They decided to use digital imaging for this project for several reasons. Head conservator Elizabeth Wicks explained that “the removal of the thick layers of oil paint applied by Il Volterrano less than five decades after the original could put Artemisia’s delicate glazes just underneath the over-paint at risk.” Wicks added that, “the veils [of drapery used to cover the figure] were applied by an important late Baroque artist and are now part of the painting’s history.”

Restoration work also revealed some exciting new discoveries about the work. Careful cleaning was undertaken to remove centuries’ worth of dirt, until finally the naval of the figure could be seen. Further, a fingerprint was found on the figure’s thigh. Wicks explained that “the fingerprint was made when the original paint was wet, and its highly likely that of Artemisia herself.”

Margie MacKinnon, co-founder of Calliope Arts, spoke enthusiastically about the project. “We want to make Artemisia Gentileschi a household name and to generate interest in her groundbreaking artworks. Artemisia is the ‘gateway drug’ for early women artists […] Her backstory is so dramatic, her paintings so powerful, and her accomplishments so impressive.”

Alongside this new digital image, the exhibition seeks to explore the context around Artemisia’s commission. The exhibition will be on public view until 8 January 2024.