Artemisia Gentileschi's Mary Magdalene, Apelles Art Collection, Luxembourg. Copyright: Kik-irpa BrusselsJane Fortune: Nearly 25 years ago you wrote ‘Artemisia has suffered from a level of scholarly neglect that is unheard of for a male artist of her caliber.’ Is this still true today?Mary Garrard: No, it’s no longer true today. But it’s one thing to be noticed and talked about and another to be understood. There’s a strong contingent of art historians who think that Artemisia has gotten unwarranted attention and believe that the feminist interest in her is just a passing fad. Certainly, she wouldn’t necessarily be as distinctive as she now is if the feminist content of her work had not sparked initial enthusiasm. But you can’t separate form and content. It is all about the quality of her art! Artemisia hasn’t yet been put to the same test as male artists. For years, the only male painter to whom she was compared was her father Orazio. And even that comparison was reductive. He might have painted better draperies than his daughter, but she was the one who discovered a whole new continent by thematizing the female experience!