“The New Woman Behind the Camera,” at the Met, is dizzying in its scope, acting as an index of female photographers between the nineteen-twenties and the fifties.
The guileful Medici family advanced humanism in all the arts in Florence, and most of the city’s painters fell into line, flattering the dynasty with masterly portraiture.
The avant-garde artist was one of the late twentieth century’s great creative personalities, with traits that once shadowed and now halo her importance.