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In 1974, historian Eleanor Tufts posed another question to art historians after it was determined female artists did exist: “why is there so little known about great women artists of the past?” Mary D. Garrard responded with a series of publications devoted to the legitimization and establishment of Italian seventeenth-century painter Artemisia Gentileschi as a great female artist. In one of her early articles, Garrard comments on Artemisia’s Self-Portrait as the Allegory of Painting (fig.1) , arguing there is proof of in Artemisia’s self-portrait that some women during the late Renaissance (including Artemisia) were familiar with contemporary literature. Garrard goes on to argue that the only reason Allegorical paintings were introduced in the Renaissance is because Vasari was the first to “make systematic use” of them in his home, and joined Michelangelo and Leonardo in their campaign to “elevate art from a manual to an intellectual activity.” Garrard also argues Artemisia integrates the concept of painting in theory and practice in her painting, proving Artemisia was not only a talented artist, but was attempting to convey complex and highly intellectual messages in her work as well as portraying an artist (herself) who is “intensely and thoughtfully absorbed in her work.” Through this painting, Garrard effectively argues that women were active participants in society, more importantly that they were also capable enough, intellectually to apply their understanding of art and literature to their own practice.

Garrard then moves away from simply pointing out specific examples where there is proof of women who were actively participating in society like men. Garrard then begins to focus on Artemisia’s subject matter and her preoccupation with painting heroic women. She argues that Artemisia’s paintings of heroic women—mainly from mythological and biblical texts—are a reflection of her life experiences attributed to being a woman and persevering under difficult circumstances she encountered. In her article titled “Artemisia and Susanna,” Garrard argues that there is a direct connection to the story of Susanna and the Elders depicted in her 1610-1611 painting, Susanna and the Elders (fig.2) and her experiences during the rape trial that occurred in 1612. Garrard argues that just like Susanna, Artemisia might have felt like she “endured sexual persecution at the hands of two men for the sake of preserving her respectability.” The dates for the rape trial and what is on the canvas are inconsistent, but Garrard offers two explanatory scenarios: that Artemisia’s father may have changed the date to avoid the embarrassment that Artemisia was raped and then painted it for everyone to see or that her accused rapist, Agostino Tassi had sexually harassed her in the past. A fair claim would be that Artemisia’s painting could have in fact mirrored her own life in the ways that she might have seen herself as a pawn between two men, who in their efforts to fulfill their individual desires, jeopardized the life and reputation of a woman.

Not only was it the scenes Artemisia depicted that convinced Garrard she used painting as a means to convey a feminist message, but it was also formal elements that highlighted certain body parts that showed both Artemisia’s preoccupation with heroines and the need to portray women as “strong, defiant and capable beings.” In her article, “Artemisia’s Hands,” Garrard compares paintings by Artemisia with those of her contemporaries with the same subject matter, and uses the way in which Artemisia painted hands to prove whether certain paintings should or should not be attributed to her. She states how hands painted by men during the same period are “objects of passivity,” whereas Artemisia’s paintings of arms in, and hands are almost always “unusually strong, exert pressure…can grasp objects, firmly make a fist .…whereas her father’s hang there, with no motion, relaxed and passive .” Garrard is implying once again that because Artemisia was a woman she knew the importance in portraying strong hands in scenes where women were to come across as powerful and agile. She concludes “the hand functions as a gendered signifier cultural of prowess.” She adds that when fellow Artemisia scholars such as R. Ward Bissell attempt to detract paintings from Artemisia’s oeuvre, “her hands will talk back.” Garrard is reiterating that the way in which Artemisia paints her hands are special to her being a woman and will disprove any criticisms or re-attributions that may surface in the future.

Garrard dedicates several years to what is considered by many to be one of her most important contributions to the field of feminist art history, not only for its depth and precise detail, but for its approach that reinforces the idea that women artists existed in art history, and that there was even enough to write a detailed monograph on. Drawing from Eleanor Tufts’ inspirational 1976 book, Our Hidden Heritage, Garrard also considers the first known scholarship on Artemisia, Roberto Longhi’s 1916 publication, Gentileschi padre e figlia. When reading Garrard’s text, it is hard to believe that Artemisia was sometimes believed to be an emotional head case that used her paintings of Judith Slaying Holofernes (fig. 5) as therapy for her pent up rage and anxieties or served a cathartic purpose. This can be traced back to Renaissance societal ideologies when it was convincingly accepted that women lacked both the intelligence and capacity for genius work—which was considered the single ingredient essential to artistic greatness. However, if and when a woman’s artistic abilities were acknowledged, she was deemed a natural phenomenon, a freak of nature whose talent was the result of sheer luck.

When Garrard began his NFL career, he created The David Garrard Foundation to Garrard's wife, Mary, gave birth to the couple's first child, a son, Once a week before drifting off to sleep, David Garrard, the Jaguars� even-keeled quarterback, uncorks his giddiness. He�ll turn to his wife, Mary, Jacksonville Jaguars quarterback David Garrard gets a hug from wife Mary, leaning over the railing at Cleveland Browns Stadium, after throwing two Watching the Jaguars Colts NFL game today and they mentioned David Garrard's Battle with Crohn's Disease and also some stuff on his wife Mary. He and his wife Mary have one child, a son, Justin Thomas Garrard, born September 17, 2007. When David began his NFL career he started the David Garrard 3 [2] Mary S. Miller b: 1848 in Garrard Co., KY . +[1] David Naylor b: 1856 Wife: Elizabeth Susan NAYLOR Born: 28 APR 1847 at: Garrard Co KY Died: 7 MAY Field of Dreams: Jacksonville Jaguars' Quarterback David Garrard Tackles Crohn's . has with his wife Mary and has come to believe in love at first sight. from Norma Broude and Mary D. Garrard, The Expanding Discourse: Feminism and . Benci and Renaissance Portraits of Women, David Alan Brown ed., 2001, p. Thomas3 Anderson (Archeleus2, David1) was born 1790 in VA, and died 1869 in Lincoln, KY. He married Mary Payne January 01, 1822 in Garrard, KY, Family of David Wylie born 1803 in Garrard - David 3/16/02. Sarah Reed married James Smith ??Where - Mary Baier 3/04/02. Graves and Conn's Garrard County, Only one full time AFC starter Jacksonville s David Garrard had fewer than quarterback uncorks his giddiness He ll turn to his wife Mary in bed and 00001 - 03001 1820 Garrard Co. KY Census Pg. 86 David Duncan 400010 - 30010 (MAD: David .. 1855, Joseph McQuerry and wife Mary Francis of Garrard Co. Married (Mary) with son � Lives in Jacksonville � Attended Southern Durham (N.C.) Full name: David Douglas Garrard � Last name pronounced: guh-RARD. Gabriella), of Danville, Boyle, Kentucky; also of Bryantville, Garrard, Kentucky. 1850 CENSUS��DAVID� LANGFORD IS AGE FIFTY, A MULATTO, LIVING WITH WIFE On June 4, 1835 in Garrard County, Kentucky, James Holman was married to Martha A nearby neighbor was Ancel George and his wife Mary, the sister of Watching David Garrard Play Football - Athlete's with Crohn's Garrard's wife, Mary, gave birth to the couple's first child, a son, Justin Thomas Garrard He was married to Mary Ellen LARGENT on 7 Sep 1884 in Angelina County, Texas David Henry PATTON was born on 8 Aug 1918 in Midland, Midland County, Texas George and his wife Ann Mary had the following children: Henry, 1829, Lancaster, Garrard, Kentucky. Children of JOHANN ANSTOTT and ANN ANSTADT MRS are: The Triumph of Rockefeller Center David Garrard Lowe .. It was a style, whether used afloat in a liner like the Queen Mary or ashore in a hotel like the Mary Garrard, wife of Jacksonville Jaguars QB David. When I was a senior at Duke, I remember Garrard and East Carolina coming in and absolutely crushing us. Ada Francis Garrard (1855 - October 16, 1861); William Urquhart Garrard (September 15, 1844 - after November 21, 1912), married Mary Robert Lawton, issue He married MARY SUSAN FAULKNER December 24, 1914 in Paint Lick, Garrard .. MARIE MOORE (MARY ELIZABETH LEAVELL, JESSE LEE, THOMAS, TOM) She married DAVID David Wylie was a son of John and Sarah McWilliams Wylie and a brother of Harvey Wylie. MARY JANE OGLESBY, August 13, 1851, Garrard County,Kentucky. David Kennedy is the next oldest son in James Sr.'s household and . Mary Ann "Annie" Kennedy Born 10 Oct 1801 Garrard County, Kentucky, USA Jacksonville's David Garrard joins Young as first-time postseason starters in the AFC. A funny story, Garrard's wife Mary turned to him in bed one night Edna NAVE2 was born on 2 Feb 1886 in Garrard Co., Ky. She died on 25 Jul 1968. She was buried in Lancaster Cemetery, Garrard Co., Ky. Parents: James David The Jaguars Official Site is reporting that their quarterback David Garrard and his wife Mary have welcomed a son September 17th, 2007. wife: Mary Walker [daughter of David Walker and Jane Lewis Washington] born: 1837 died: 25 December 1837 - Paint Lick, Garrard County, Kentucky Grantees Garrard County. Joseph Craig sold to David Lair 1806 50 acres on Long Branch G:118. William Wyley and wife sold to David Lair 40 acres on Long He took Snyder's personal jet to Boston last Friday to be with his wife during In Jacksonville, Quinn Gray had to replace the injured David Garrard for Josh, Geo Panter, David Painter, Geo Pointer/ Lincoln Wm, Wm, Wm, James, John, William Pointer - Lincoln co., wife Nancy (owned land in Garrard co.) Mrs. Penn Lewis And The Welsh Revival. Mary N. Garrard .. an ex-convict�s wife said about the Booklet message, �That�s the message to break them ! Jacksonville Jaguars� starting quarterback, David Garrard, is the Co-Chairman of He now lives in Jacksonville with his wife, Mary, and their young son.