at the Musée Jacquemart-André, Paris until 3 August 

Artemisia Gentileschi's name is now well known as a result of the numerous exhibitions which have been held in the past decade across the world. To this number, another has been added by the Musée Jacquemart-André in Paris, but given that it is now five years since the National Gallery's exhibition in London, it seems like it is high time to re-think her work, and consider what has been learnt in recent years. 

The exhibition in Paris starts, as is almost inevitable, with a comparison to the work of her father, who was, after all, the man with whom she learnt her trade. It talks of her international success, and compares her work to that of her older contemporary Caravaggio. In both cases, she comes out on top, and the exhibition justifies her fame, with a rich array of superb paintings. 

Of particularly note are a number of recently discovered paintings, not to mention those which are newly restored. Several of these are rarely accessible, and are worth the trip to Paris on their own. Among these the chief treasures are her Inclination - an ingenious allegory painted for the ceiling of the Casa Buonarroti in Florence, commissioned by the great artists great nephew. This will probably be the only chance you will have for many years to see it face-to-face and close up - rather than having to peer awkwardly at it way above you. There is also the Penitent Magdalene from the Cathedral in Seville, which again is not the easiest to see in its usual location. 

As so often, the talk will be a virtual tour of the exhibition, looking primarily at the paintings themselves, although also taking a little time to consider Artemisia's remarkable life to explain why the curators have decided she was the Heroine of Art.