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Artemisia Gentileschi (July 8, 1593 – 1651/1653) was an Italian Early Baroque painter, today considered one of the most accomplished painters in the generation influenced by Caravaggio (Caravaggisti). In an era when women painters were not easily accepted by the artistic community, she was the first female painter to become a member of the Accademia di Arte del Disegno in Florence. Image File history File links Download high resolution version (850x1117, 121 KB) http://www. ...
Great Migration (Puritan) Thirty Years War in full swing in Europe 1632 - Just a couple of months before his death in battle, Swedish king Gustav II Adolf The Great ratifies the establishment of University of Tartu, the second university in the Swedish Empire September 8, 1636 - A vote of the...
Shaped by the personal tastes of kings and queens over more than 500 years, the Royal Collection includes paintings, drawings and watercolours, furniture, ceramics, clocks, silver, sculpture, jewellery, books, manuscripts, prints and maps, arms and armour, fans, and textiles. ...
This article is about the capital of England and the United Kingdom. ...
is the 189th day of the year (190th in leap years) in the Gregorian calendar. ...
Events May 18 - Playwright Thomas Kyds accusations of heresy lead to an arrest warrant for Christopher Marlowe. ...
For other uses, see Rome (disambiguation). ...
Events February 2 - New Amsterdam (later renamed New York City) is incorporated. ...
Location of the city of Naples (red dot) within Italy. ...
Languages Italian, Sicilian, Neapolitan, Corsican, Sardinian, Emiliano-Romagnolo, Ligurian, Lombard, Piedmontese, Venetian, Ladin, Friulian Religions predominantly Roman Catholic The Italians are a Southern European ethnic group found primarily in Italy and in a wide-ranging diaspora throughout Western Europe, the Americas and Australia. ...
For other uses, see Baroque (disambiguation). ...
is the 189th day of the year (190th in leap years) in the Gregorian calendar. ...
Events May 18 - Playwright Thomas Kyds accusations of heresy lead to an arrest warrant for Christopher Marlowe. ...
// Events January 1 - Charles II crowned King of Scotland in Scone. ...
Events February 2 - New Amsterdam (later renamed New York City) is incorporated. ...
For other uses, see Baroque (disambiguation). ...
Michelangelo Merisi da Caravaggio (September 28, 1573 – July 18, 1610), usually called Caravaggio after his hometown near Milan, was an Italian Baroque painter, whose large religious works portrayed saints and other biblical figures as ordinary people. ...
Caravaggio re-directs here; for alternate uses see Caravaggio (disambiguation) Michelangelo Merisi da Caravaggio (1571-1610), often short Caravaggio after his hometown, was an Italian Renaissance painter, whose large religious works portrayed saints and other biblical figures as ordinary people. ...
Michelangelos David in the Tribuna that was built especially to house it. ...
She was one of the first female artists to paint historical and religious paintings, at a time when such heroic themes were considered beyond a woman's reach.
Biography
Roman beginning Artemisia Gentileschi was born in Rome, on July 8, 1593, the first child of the painter Orazio Gentileschi, one of the best representatives of the school of Caravaggio. Artemisia was introduced to painting in her father's workshop, showing much more talent than her brothers, who worked alongside her. She learned drawing, how to mix color and how to paint. Since her father's style took inspiration from Caravaggio during that period, her style was just as heavily influenced in turn. But her approach to subject matter was different from her father's. is the 189th day of the year (190th in leap years) in the Gregorian calendar. ...
Events May 18 - Playwright Thomas Kyds accusations of heresy lead to an arrest warrant for Christopher Marlowe. ...
Orazio Gentileschi was an Italian painter. ...
 Susanna and the Elders, Schönborn Collection, Pommersfelden The first work of the young 17-year-old Artemisia (even if many at the time suspected that she was helped by her father) was the Susanna e i Vecchioni (Susanna and the Elders) (1610, Schönborn collection in Pommersfelden). The picture shows how Artemisia assimilated the realism of Caravaggio without being indifferent to the language of the Bologna school (which had Annibale Carracci among its major artists). Image File history File links Download high resolution version (750x1057, 128 KB) Susanna and the Elders (1610) by Artemisia Gentileschi Oil on canvas, 170 x 121 cm, Schloss Weissenstein, Pommersfelden Found at Web Gallery of Art. ...
Image File history File links Download high resolution version (750x1057, 128 KB) Susanna and the Elders (1610) by Artemisia Gentileschi Oil on canvas, 170 x 121 cm, Schloss Weissenstein, Pommersfelden Found at Web Gallery of Art. ...
Schloss Weißenstein Pommersfelden is a town in the district of Bamberg in Bavaria in Germany. ...
For other uses, see Caravaggio (disambiguation). ...
For the food product, see Bologna sausage. ...
Self-portrait, (Uffizi) Annibale Carracci (November 3, 1560 - July 15, 1609) was an Italian Baroque painter. ...
In 1612, despite her early talent, Artemisia was denied access to the all-male professional academies for art. At the time, her father was working with Agostino Tassi to decorate the vaults of Casino della Rose inside the Pallavicini Rospigliosi Palace in Rome, so Orazio hired the Tuscan painter to tutor his daughter privately. During this tutelage, Tassi raped Artemisia. Even though Tassi initially promised to marry Artemisia in order to restore her reputation, he later reneged on his promise and Orazio reported Tassi to the authorities. Agostino Tassi (1578‑1644), painter, mostly of landscapes and seascapes. ...
For other uses, see Rome (disambiguation). ...
In the ensuing 7-month trial, it was discovered that Tassi had planned to murder his wife, had enjoined in adultery with his sister-in-law and planned to steal some of Orazio’s paintings. During the trial Artemisia was given a gynecological examination and was tortured using a device made of thongs wrapped around the fingers and tightened by degrees — a particularly cruel torture to a painter. Both procedures were used to corroborate the truth of her allegation, the torture device used due to the belief that if a person can tell the same story under torture as without it, the story must be true. At the end of the trial Tassi was imprisoned for one year. The trial has subsequently influenced the feminist view of Artemisia Gentileschi during the late 20th century. Feminists redirects here. ...
The painting Giuditta che decapita Oloferne (Judith beheading Holofernes) (1612 - 1613), displayed in the Capodimonte Museum of Naples, is impressive for the violence portrayed, and has been interpreted as a wish for psychological revenge for the violence Artemisia had suffered. Palazzo Capodimonte. ...
One month after the trial, in order to restore her honor, Orazio arranged for his daughter to marry Pierantonio Stiattesi, a modest artist from Florence. Shortly afterwards the couple moved to Florence, where Artemisia received a commission for a painting at Casa Buonarroti and became a successful court painter, enjoying the patronage of the Medici family and Charles I. It has been proposed that during this period Artemisia also painted the Madonna col Bambino (The Virgin and Child), currently in the Spada Gallery, Rome. Florence (or Firenze, Florentia and Fiorenza) is the capital city of the Italian region of Tuscany, and of the province of Florence. ...
Florence (or Firenze, Florentia and Fiorenza) is the capital city of the Italian region of Tuscany, and of the province of Florence. ...
For the board game, see Medici (board game). ...
Charles I (19 November 1600 – 30 January 1649) was King of England, Scotland and Ireland from March 27, 1625 until his execution. ...
Facade of the Palazzo Spada The Palazzo Spada is a palace in Rome that houses a grand art collection, the Galleria Spada, assembled by Bernardino Cardinal Spada. ...
For other uses, see Rome (disambiguation). ...
While in Florence, Artemisia and Pierantonio had four sons and one daughter. But only the daughter, Prudenzia, survived to adulthood — following her mother's return to Rome in 1621 and later move to Naples. After her mother's death, Prudenzia slipped into obscurity and little is known of her subsequent life. For other uses, see Rome (disambiguation). ...
Location of the city of Naples (red dot) within Italy. ...
Florentine period (1614-1620) In Florence, Artemisia enjoyed huge success. She was the first woman accepted into the Accademia del Disegno (Academy of Drawing). She maintained good relations with the most respected artists of her time, such as Cristofano Allori, and to be able to conquer the favours and the protection of influential people, starting with Granduke Cosimo II de' Medici and especially of the Granduchess Cristina. She had a good relationship with Galileo Galilei with whom she remained in epistolary contact for a long time. She was esteemed by Michelangelo Buonarroti the younger (nephew of the great Michelangelo): busy with construction of Casa Buonarroti to celebrate his notable relative, he asked Artemisia to produce a painting to decorate the ceiling of the gallery of paintings. Download high resolution version (829x1009, 114 KB)Judith Beheading Holofernes by Artemisia Gentileschi (1612-21) Oil on canvas, 199 x 162 cm Galleria degli Uffizi, Florence Source: http://gallery. ...
Download high resolution version (829x1009, 114 KB)Judith Beheading Holofernes by Artemisia Gentileschi (1612-21) Oil on canvas, 199 x 162 cm Galleria degli Uffizi, Florence Source: http://gallery. ...
For other uses of Judith, see Judith (disambiguation). ...
Artemisia Gentileschis painting Judith Beheading Holofernes. ...
The narrow courtyard between the Uffizis two wings creates the effect of a short, idealized street. ...
Judith with the Head of Holofernes (1613) Oil on canvas, 139 x 116 cm. ...
For the board game, see Medici (board game). ...
Galileo redirects here. ...
For other uses, see Michelangelo (disambiguation). ...
The painting represents an allegory of Allegoria dell'Inclinazione (Allegory of the Inclination (natural talent)), presented under the form of a young nude woman who holds a compass. It is believed that the subject bears a resemblance to Artemisia. Indeed, in several of her paintings, Artemisia's energetic heroines have a similar appearance to her self-portraits. Her success and gender fueled many rumours about her private life.
Notable works from this period include La Conversione della Maddalena (The Conversion of the Magdalene), and Giuditta con la sua ancella (Judith and her Maidservant), now in the Pitti Palace. Artemisia painted a second version of Giuditta che decapita Oloferne (Judith beheading Holofernes), this one larger than the Naples version and now housed in the Uffizi Gallery of Florence. Early 20th century photograph of the Palazzo Pitti, then still known as La Residenza Reale following the residency of King Emmanuel II between 1865 to 1871 when Florence was the capital of Italy. ...
The narrow courtyard between the Uffizis two wings creates the effect of a short, idealized street. ...
Despite her success, due to an excess of expenses by her and her husband, the Florentine period was full of problems with creditors and with her husband. These problems led to her return to Rome in 1621. For other uses, see Rome (disambiguation). ...
Return in Rome and afterward Venice (1621-1630) Artemisia arrived in Rome the same year her father Orazio departed for Genoa. Some believe that Artemisia followed her father there; while there is not enough evidence for this, this time together would have accentuated the similarity of their styles, which makes it often difficult today to determine which of the two painted certain works. Most of the evidence supports the notion that Artemisia remained in Rome, trying to find a home and raise her daughters. In addition to Prudenzia (born from the marriage with Pierantonio Stiattesi) she had another natural daughter, probably born in 1627. Artemisia tried, with almost no success, to teach them the art of painting. For other uses, see Rome (disambiguation). ...
For other uses, see Genoa (disambiguation). ...
For other uses, see Rome (disambiguation). ...
Caravaggio's style, though the master had been dead over a decade, was still highly influential and converted many painters to his style (the so-called Caravaggisti) such as Artemisia's father, Carlo Saraceni (who returned to Venice 1620), Bartolomeo Manfredi, and Simon Vouet. However, painting styles in Rome during the early 17th century were diverse, a more classic manner of the Bolognese disciples of the Carracci and the baroque style of Pietro da Cortona. For other uses, see Caravaggio (disambiguation). ...
Carlo Saraceni (c. ...
Bartolomeo Manfredi (born Ostiano, near Mantua, baptised 25 August, 1582 - died Rome 12 December, 1622) was an Italian artist, a leading member of the Caravaggisti (followers of Michelangelo Merisi da Caravaggio) of the early 16th century. ...
Vouets allegory La Richesse was painted ca 1640 for one of the royal chateaux of France (Louvre) Simon Vouet (1590 - 1649) was the French painter and draftsman who introduced the Italian Baroque style to France. ...
There are several people with the name Carracci. ...
For other uses, see Baroque (disambiguation). ...
Pietro da Cortona, byname of Pietro Berettini (November 1, 1596- May 16, 1669) was a prolific artist and architect of High Baroque. ...
It appears that Artemisia was also associated the Academy of the Desiosi. She was celebrated with a portrait carrying the incision "Pincturare miraculum invidendum facilius quam imitandum". In the same period she became friends with Cassiano dal Pozzo, a humanist, collector and lover of arts. However, despite her artistic reputation, her strong personality and her numerous good relationships, Rome was not as lucrative as she hoped. The appreciation of her art was narrowed down to portraits and to her ability with biblical heroines: she received none of the lucrative commissions for altarpieces. The absence of sufficient documentation makes it difficult to follow Artemisia's movements in this period. It is certain that between 1627 and as late as 1630 she moved to Venice, perhaps in search of richer commissions, as verses and letters were composed in appreciation of her and her works in Venice. Cassiano—Cassianus Aputeo. ...
For other uses, see Rome (disambiguation). ...
For other uses, see Venice (disambiguation). ...
For other uses, see Venice (disambiguation). ...
Although it is sometimes difficult to date her paintings, it is possible to assign to her these years the Ritratto di gonfaloniere (Portrait of Gonfaloniere), today in Bologna (a rare example of her capacity as portrait painter); the Giuditta con la sua ancella, (Judith and her Maidservant) today housed at the Detroit Institute of Arts. The Detroit painting is notable for her mastery of chiaroscuro and tenebrism (the effect of extreme lights and darks), techniques for which Gerrit van Honthorst, Trophime Bigot, and many others in Rome were famous. Her Venere Dormiente (The Sleeping Venus), today at Virginia Museum of Fine Arts, Richmond, and her Ester ed Assuero (Esther and Ahasuerus) located at the Metropolitan Museum of Art in New York, are testimony of her assimilation of the lessons of Venetian luminism. For the food product, see Bologna sausage. ...
The Detroit Institute of Arts (DIA), originally named the Detroit Museum of Art, has one of the largest, most significant art collections in the United States. ...
For other use of the term, see Chiaroscuro (disambiguation). ...
From the Italian tenebroso (murky), tenebrism is a style of painting using violent contrasts of light and dark, as in the work of Caravaggio. ...
Gerhard van Honthorst (1590 - 1656), also known as Gherardo della Notte, was a Dutch painter of Utrecht. ...
Metropolitan Museum of Art New York Elevation The Metropolitan Museum of Art, often referred to simply as the Met, is one of the worlds largest and most important art museums. ...
New York, New York and NYC redirect here. ...
Naples and the English period (1630-1653) In 1630 Artemisia moved to Naples, a city rich with workshops and art lovers, in search of new and more lucrative job opportunities. Many other artists, including Caravaggio, Annibale Carracci, Simon Vouet had stayed in Naples for some time in their lives, and at that time, Jusepe de Ribera, Massimo Stanzione, and Domenichino were working there and later, Giovanni Lanfranco and many others would flock to the city. The Neapolitan debut of Artemisia is represented by the Annunciation in the Capodimonte Museum. She remained in Naples for the remaineder of her career with the exception of a brief trip to London and some other journeys. Naples was for Artemisia a kind of second homeland where she took care of her family (both her daughters were married in Naples). She received letters of appreciation, being in good relations with the viceroy the Duke of Alcalá and started relations with many renowned artists, among them Massimo Stanzione, with whom, the eighteenth-century writer Bernardo de' Dominici reports, she started an artistic collaboration based on a real friendship and artistic similarities. Location of the city of Naples (red dot) within Italy. ...
For other uses, see Caravaggio (disambiguation). ...
Self-portrait, (Uffizi) Annibale Carracci (November 3, 1560 - July 15, 1609) was an Italian Baroque painter. ...
Vouets allegory La Richesse was painted ca 1640 for one of the royal chateaux of France (Louvre) Simon Vouet (1590 - 1649) was the French painter and draftsman who introduced the Italian Baroque style to France. ...
Location of the city of Naples (red dot) within Italy. ...
Giuseppe Ribera (January 12, 1591 - 1652) was the name given in Italian to Jusepe (de) Ribera or José (de) Ribera, also called Lo Spagnoletto, or the Little Spaniard, a leading painter of the Neapolitan or partly of the Spanish school, who was born near Valencia, Spain at Xátiva, now...
Massimo Stanzione (also called by Stanzioni) (Orta di Atella, Caserta, c. ...
Domenico Zampieri (or Domenichino) (October 21, 1581 - April 15, 1641), Italian painter, born at Bologna, was the son of a shoemaker. ...
Giovanni Lanfranco (born: 26 January 1582, Parma, Italy - died: 30 November 1647, Rome) was an Italian baroque painter. ...
Palazzo Capodimonte. ...
This article is about the capital of England and the United Kingdom. ...
Massimo Stanzione (also called by Stanzioni) (Orta di Atella, Caserta, c. ...
Bernardo de Dominici (1683-1759) was an Italian art historian and painter of the late-Baroque period, active mainly in Naples, painting landscapes, marine vedute, and genre scenes such as characteristic of Bamboccianti. ...
In Naples for the first time Artemisia started working on paintings in a cathedral, dedicated to San Gennaro nell'anfiteatro di Pozzuoli (Saint Januarius in the amphitheater of Pozzuoli) in Pozzuoli. During her first Neapolitan period she painted Nascita di San Giovanni Battista (Birth of Saint John the Baptist) located in the Museo del Prado in Madrid, and Corisca e il satiro (Corisca and the satyr), in a private collection. In these paintings Artemisia again demonstrates her ability to renew herself with the novelties of the period and handle different subjects, instead of the usual Judith, Susanna, Bathsheba, and Penitent Magdalenes, for which she was already known. Location of the city of Naples (red dot) within Italy. ...
Pozzuoli is a city of the province of Napoli, in the Italian region of Campania. ...
In 1638 Artemisia joined her father in London at the court of Charles I of England, where Orazio became court painter and received the important job of decorating a ceiling (allegory of Trionfo della pace e delle Arti (Triumph of the peace and the Arts) in the Casa delle Delizie of Queen Henrietta Maria of France in Greenwich. Father and daughter were once again working together, although helping her father was probably not her only reason for travelling to London: Charles I had convoked her in his court, and it was not possible to refuse. Charles I was a fanatical collector, willing to ruin public finances to follow his artistic wishes. The fame of Artemisia probably intrigued him, and it is not a coincidence that his collection included a painting of great suggestion, the Autoritratto in veste di Pittura ("Self-Portrait as the Allegory of Painting."). Charles I (19 November 1600 – 30 January 1649) was King of England, Scotland and Ireland from March 27, 1625 until his execution. ...
Queen Henrietta Maria (November 25, 1609 – September 10, 1669) was Queen Consort of England, Scotland and Ireland (June 13, 1625 - January 30, 1649) through her marriage to Charles I. The U.S. state of Maryland (in Latin, Terra Mariae) was so named in her honour by Cæcilius Calvert, son...
This article is about Greenwich in England. ...
Orazio suddenly died in 1639. Artemisia had her own commissions to fulfill after her father's death, although there are no known works assignable with certainty to this period. It is known that Artemisia had already left England by 1642, when the civil war was just starting. Nothing much is known about her subsequent movements. Historians know that in 1649 she was in Naples again, corresponding with Don Antonio Ruffo of Sicily who became her mentor and good commitment during this second Neapolitan period. The last known letter to her mentor is dated 1650 and makes clear that she was still fully active. Artemisia was once thought to have died in 1653. Recent evidence, however, has shown that she was still accepting commissions in 1654--though increasingly dependent on her assistant, Onofrio Palumbo. Thus it might be speculated that she died in the devastating plague that swept Naples in 1656 and virtually wiped out an entire generation of Neapolitan artists. For other uses, see England (disambiguation). ...
For other uses, see English Civil War (disambiguation). ...
// Events January 30 - King Charles I of England, Scotland and Ireland is beheaded. ...
Sicily ( in Italian and Sicilian) is an autonomous region of Italy and the largest island in the Mediterranean Sea, with an area of 25,708 km² (9,926 sq. ...
Some works in this period are Susanna e i vecchioni (Susanna and the elders) today in Brno and Madonna e Bambino con rosario (Virgin and Child with a Rosary) today in El Escorial. , Country Czech Republic Region Parts 29 - Bohunice - Bosonohy - Bystrc - Brno-Center - ÄŒernovice - Chrlice - Ivanovice - Jehnice - Jundrov - KnÃniÄky - Kohoutovice - KomÃn - Královo Pole - LÃÅ¡eň - Maloměřice and ObÅ™any - Medlánky - Brno-North - Nový LÃskovec - OÅ™eÅ¡Ãn - ŘeÄkovice and Mokrá Hora - Slatina - Brno-South...
San Lorenzo de El Escorial redirects here. ...
Artistic profile
 Judith and her Maidservant (1613-14) Oil on canvas Palazzo Pitti, Florence A research paper of Roberto Longhi, an important Italian critic, dated 1916, named Gentileschi padre e figlia (Gentileschi father and daughter) described Artemisia as "the only woman in Italy who ever knew about painting, coloring, doughing and other fundamentals". Longhi also wrote of Judith Slaying Holofernes: Image File history File links Download high-resolution version (955x1165, 182 KB) non-artistic photograph of Judith and her maidservant c. ...
Image File history File links Download high-resolution version (955x1165, 182 KB) non-artistic photograph of Judith and her maidservant c. ...
Fondazione Roberto Longhi, Via Benedetto Fortini, Florence, is an institute established by Italian scholar Roberto Longhi, who in 1971 left his library, photo library and collection of art for the benefit of future generations. The headquarters is the villa Il Tasso which Longhi acquired in 1939. ...
Who could think in fact that over a sheet so candid, a so brutal and terrible massacre could happen [...] but - it's natural to say - this is a terrible woman! A woman painted all this?... there's nothing sadistic here, instead what strikes the most is the impassibility of the painter, who was even able to notice how the blood, spurting with violence, can decorate with two drops the central spurt! Incredible I tell you! And also please give Mrs. Schiattesi - the conjugal name of Artemisia - the chance to choose the hilt of the sword! At last don't you think that the only aim of Giuditta is to move away to avoid the blood which could stain her dress? We think anyway that that is a dress of Casa Gentileschi, the finest wardrobe in the Europe during 600, after Van Dyck. Self Portrait With a Sunflower Sir Anthony (Antoon) van Dyck (*March 22, 1599 - December 9, 1641) was a Flemish painter — mainly of portraits — who became the leading court painter in England. ...
Feminist studies increased the interest towards Artemisia's artistic work and life. Such studies underlined her suffering of rape and subsequent mistreatment, and the expressive strength of her paintings of biblical heroines, in which the women are interpreted as willing to manifest their rebellion against their condition. In a research paper from the catalogue of the exhibition "Orazio e Artemisia Gentileschi" which took place in Rome in 2001 (and after in New York), Judith W. Mann gives a feminist opinion of Artemisia: For other uses, see Rome (disambiguation). ...
This article is about the state. ...
An opinion like that presupposes that the full creative potential of Artemisia is only about strong capable women, at the point that seems impossible to imagine her busy doing conventional religious images, like a Virgin Mary with a Baby or a virgin submissively waiting for the Annunciation; and besides it is said that the artist refused to modify her personal interpretation of those subjects to conform to the preferences of a client base presumably composed by males. The stereotype caused a double restrictive effect: it both induced the critics to doubt about the attribution of the paintings not corresponding to described model, and to give an inferior value to the ones not found on the cliché. Due to the fact that Artemisia returned again and again to violent subject matter such as Judith and Holofernes, a repressed-vengeance theory is tempting. However, some art historians suggest that she was shrewdly playing on her fame from the rape trial to cater to a niche market in sexually-charged, female-dominate art for male patrons.
The most recent critic, starting from the difficult reconstruction of the entire catalogue of the Gentileschi, tried to give a less reductive reading of the career of Artemisia, placing it more accurately on the context of the different artistic environments in which the painter actively participated. A reading like this restores Artemisia as an artist who fought with determination, using the weapon of personality and of the artistic qualities, against the prejudices expressed against women painters; being able to introduce herself productively in the circle of the most respected painters of her time, embracing a series of pictorial genres which were probably more ample and varied than her paintings suggest.
Artemisia and contemporary female painters For a woman at the beginning of the 17th century, being a painter like Artemisia represented an uncommon and difficult choice, but not an exceptional one. Before Artemisia, between the end of the 1500 and the beginning of 1600 other female painters had successful careers. Other female painters began their career while Artemisia was alive. Judged on their artistic merits, Longhi's statement that Artemisia was "the only woman in Italy who ever knew about painting" may be questioned, but there is no doubt that Artemisia continues to be among the most highly regarded of female artists, and has finally taken her place among the great artists of the Baroque. Sofonisba Anguissola, Self-Portrait, 1554. ...
Cremona is a city in northern Italy, situated in Lombardy, on the left shore of the Po river in the middle of the Pianura padana (Po valley). ...
Location of the city of Palermo (red dot) within Italy. ...
Philip II (Spanish: ; Portuguese: ) (May 21, 1527 – September 13, 1598) was King of Spain from 1556 until 1598, King of Naples from 1554 until 1598, king consort of England (as husband of Mary I) from 1554 to 1558, Lord of the Seventeen Provinces (holding various titles for the individual territories...
Lavinia Fontana (August 24, 1552-August 11, 1614) was an Italian painter. ...
For the food product, see Bologna sausage. ...
For other uses, see Rome (disambiguation). ...
Pope Clement VIII (Fano, Italy, February 24, 1536 – March 3, 1605 in Rome), born Ippolito Aldobrandini, was Pope from January 30, 1592 to March 3, 1605. ...
Fede Galizia (b Milan, 1578; d Milan, 1630) was an Italian Renaissance painter, a pioneer of the still life genre. ...
This is about the Italian city of Milan. ...
Trento (Italian: Trento; German: Trient; Latin: Tridentum; Note that many of the regions Italian languages/dialects use Trent or Trènt) is an Italian city located in the Adige River valley in Trentino-Alto Adige/Südtirol. ...
Artemisia in popular culture Although there were other female painters in the Baroque, there is something in the art and the biography of Artemisia Gentileschi that makes her especially fascinating, which explains the continued interest in her life and work.
The first writer who produced a novel around the figure of Artemisia was Anna Banti, wife of Roberto Longhi. Her first draft of the manuscript, dated 1944, was lost during the war. Three years later she started again with the book, to be called Artemisia, writing in a much different form. Banti's book is written in an "open diary" form, in which she maintains a dialogue with Artemisia, trying to understand why she finds her so fascinating.
More than 50 years later, in 1999, the French writer Alexandra Lapierre became fascinated by Artemisia and wrote a novel about her, derived from scrupulous study of the painter and the historical context of her work. The novel seeks to understand the relation between Artemisia the woman and Artemisia the painter, and ends with describing as "leitmotiv" the relation between her and her father, composed of both love insufficiently expressed, and a latent professional rivalry. A leitmotif (also spelled leitmotiv) is a recurring musical theme, associated within a particular piece of music with a particular person, place or idea. ...
Artemisia, and more specifically her painting Judith Beheading Holofernes, are referred to in Wendy Wasserstein's 1988 play The Heidi Chronicles, where the main character Heidi lectures about it as part of her art history course on female painters. At the end of the play, Heidi adopts a daughter she names Judy, which is at least a partial reference to the painting. Wendy Wasserstein (October 18, 1950 – January 30, 2006) was an award-winning American playwright and an Andrew Dickson White Professor-at-Large at Cornell University. ...
The Heidi Chronicles (1988) is an award-winning play by noted 20th century American playwright Wendy Wasserstein. ...
The 1997 film Artemisia, directed by Agnès Merlet and starring Valentina Cervi, was loosely based on this painter's life, but inaccurately portrayed the relationship between Tassi and Artemisia as a passionate affair rather than as rape. The Passion of Artemisia, recently published in Italy by Susan Vreeland, positions itself in the wave of the popularity of the feminist account of Artemisia Gentileschi. Valentina Cervi (born 13th April 1976 in Italy) is an Italian actress. ...
Canadian playwright Sally Clark wrote several stage plays based on the events leading up to and following the rape of Artemisia. "Life Without Instruction" was commissioned by Nightwood Theatre in 1988, and was developed during an Ontario Arts Council Playwright's Residency in 1989. It was workshopped in 1990, under the direction of Kate Lushington and dramaturged by Jackie Maxwell. "Life Without Instruction" premiered at Theatre Plus Toronto on August 2, 1991.
The New Jersey based band Spiral Jetty's fourth record entitled 'Band of Gold' featured Gentileschi's painting Judith Beheading Holofernes on its cover. The album's subject matter, covering the destruction of a marriage through betrayal, was tangentially related to the painting's biblical subject.
Further reading - Bissell, R. Ward. Artemisia Gentileschi and the Authority of Art, Penn State Press, 2001 ISBN 0-271-02120-9
- Garrard, Mary D. Artemisia Gentileschi, Princeton University Press, 1991
- Garrard, Mary D. Artemisia Gentileschi around 1622: The Shaping and Reshaping of an Artistic Identity, University of California Press, 2001
- Christiansen, Keith and Judith W. Mann, eds. Orazio and Artemisia Gentileschi. Exh. cat., Metropolitan Museum of Art. New Haven and London, 2001.
- Christiansen, Keith. “Becoming Artemisia: Afterthoughts on the Gentileschi Exhibition.” Metropolitan Museum Journal 39 (2004): 101-126.
- Mann, Judith (Ed.) Artemisia Gentileschi: Taking Stock, Brepols Publishers, 2006
References
See also // Professor and art historian Linda Nochlin began her deliberately provocative 1971 Artnews article with the question Why are there no great women artists? This question was, in essence, a challenge to traditional art history and to feminist art history. ...
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