Orazio and Artemisia Gentileschi

This beautiful book presents the work of these two painters, exploring the artistic development of each, comparing their achievements and showing how both were influenced by their times and the milieus in which they worked.

Orazio and Artemisia Gentileschi

Author: Keith Christiansen

Publisher: Metropolitan Museum of Art

ISBN: 1588390063

Page: 476

View: 650

This beautiful book presents the work of these two painters, exploring the artistic development of each, comparing their achievements and showing how both were influenced by their times and the milieus in which they worked.

Artemisia Gentileschi

Medici, “Artemisia Gentileschi,” 464 n. 9. 113. Getty Provenance Index Databases
. J. Paul Getty Trust, 1994–2004, http://www.getty. edu. See the Neapolitan
inventories of the Carafa, Capecelatro, Cella, Capece Piscicelli, Orsini,
Ciavarella, ...

Artemisia Gentileschi

Author: Jesse M. Locker

Publisher: Yale University Press

ISBN: 0300259050

Page: 248

View: 247

An important reassessment of the later career and life of a beloved baroque artist Hailed as one of the most influential and expressive painters of the seventeenth century, Artemisia Gentileschi (1593–ca. 1656) has figured prominently in the art historical discourse of the past two decades. This attention to Artemisia, after many years of scholarly neglect, is partially due to interest in the dramatic details of her early life, including the widely publicized rape trial of her painting tutor, Agostino Tassi, and her admission to Florence’s esteemed Accademia del Disegno. While the artist’s early paintings have been extensively discussed, her later work has been largely dismissed. This beautifully illustrated and elegantly written book provides a revolutionary look at Artemisia’s later career, refuting longstanding assumptions about the artist. The fact that she was semi-illiterate has erroneously led scholars to assume a lack of literary and cultural education on her part. Stressing the importance of orality in Baroque culture and in Artemisia’s paintings, Locker argues for her important place in the cultural dialogue of the seventeenth century.

Lives of Artemisia Gentileschi

This volume presents texts illuminating Gentileschi's life and career, from excerpts of testimonies from her 1612 rape trial, to letters she wrote to prominent friends and acquaintances like Galileo, to contemporary biographies.

Lives of Artemisia Gentileschi

Author: Artemisia Gentileschi

Publisher: J. Paul Getty Museum

ISBN: 9781606066638

Page: 160

View: 606

A compendium of writings, letters, and records illuminating the life of Artemisia Gentileschi, the most influential female painter of the Italian Baroque. Artemisia Gentileschi (1593-after 1654) was a prominent painter in the Italian Baroque style and the most influential female artist of her day. Gentileschi is known for spreading Caravaggio's popular dramatic style throughout Italy and expanding what the world thought possible of female artists. She notably represented women as powerful and courageous, subverting contemporary stereotypes of feminine weakness and timidity. This volume presents texts illuminating Gentileschi's life and career, from excerpts of testimonies from her 1612 rape trial, to letters she wrote to prominent friends and acquaintances like Galileo, to contemporary biographies. These writings provide a fascinating look at the artist who remains a key figure in feminist art histories.

Artemisia Gentileschi the Paintings

The works of Italian Baroque painter Artemisia Gentileschi Lomi (1593 -- 1656). B&W Edition. Derived from the original full-color impression as an affordable quick-reference resource for inexpensive educational purposes.

Artemisia Gentileschi   the Paintings

Author:

Publisher:

ISBN: 9781719865968

Page: 101

View: 894

The works of Italian Baroque painter Artemisia Gentileschi Lomi (1593 -- 1656). B&W Edition. Derived from the original full-color impression as an affordable quick-reference resource for inexpensive educational purposes.

Artemisia Gentileschi Around 1622

Pierre Dumonstier le Neveu, Drawing of the hand of Artemisia Gentileschi with
paintbrush, 1625. © The British Museum 8 2. Artemisia Gentileschi, Allegory of
Inclination, 1615–16. Casa Buonarroti, Florence (photograph: Soprintendenza
per I ...

Artemisia Gentileschi Around 1622

Author: Mary D. Garrard

Publisher: Univ of California Press

ISBN: 0520228413

Page: 179

View: 182

"In this admirable work, at once passionately argued and lucidly written, Professor Garrard effectively considers the social, psychological, and formal complexity of the shaping and reshaping not only of the artist's feminine and feminist identity in the misogynistic society of the seventeenth century, but also of that identity in the discipline of art history today."—Steven Z. Levine, author of Monet, Narcissus, and Self-Reflection "Mary Garrard's detailed investigation into attribution problems in two Artemisia Gentileschi paintings brilliantly interweaves connoisseurship, constructions of gender and artistic identity, and historical analysis. The result is a richer and more nuanced vision of the best-known female artist in western history before the modern era, and an important contribution to feminist studies." —Whitney Chadwick, author of Women, Art, and Society "In her new book, Garrard has taken two bold steps that challenge much received opinion in the 'discipline' of art history. Analyzing two of Gentileschi's least violent but most moving images, Garrard argues that the painter's personality is discernible no less in the subjects and their interpretation than in the 'style' of the works; consideration of both aspects is essential to understanding the meaning of these extraordinary pictures and her authorship. Perhaps even more important, Garrard makes crystal clear that Artemisia Gentileschi, far from a 'good woman painter,' was one of the major visual thinkers of her time."—Irving Lavin, co-author with Marilyn Aronberg Lavin, of La Liturgia d'Amore: Immagini dal Canto dei Cantici nell'arte di Cimabue, Michelangelo, e Rembrandt (Modena, 2000) "Developing her earlier methodologies and revising some conclusions, Garrard clarifies her distinct theoretical approach and voice among feminist critiques of art history. In this text, which reads in part like a forensic mystery, Garrard builds not only an argument for attributions of particular works, but a new understanding of Gentileschi herself at a particular moment in history."—Hilary Robinson, editor of Visibly Female: Feminism and Art Today "One of our most distinguished feminist art historians brings contemporary gender studies to bear on traditional paintings connoisseurship to show how attributions to female artists have often been governed by tacit cultural assumptions about the limitations of women. Her case makes compelling reading for anyone interested in early modern society, culture, women and art in Italy, and in the problematics of feminism and art history."—Kathleen Weil-Garris Brandt, author of Leonardo e la Scultura "By revealing a great woman painter's ways of expressing uniqueness while negotiating expectations, Mary Garrard helps each of us with the subtleties of remaining authentic while living in the world. Artemisia Gentileschi around 1622 is art history to live by."—Gloria Steinem

Artemisia Gentileschi 52 Masterpieces

Nine months after the event, when he learnt that Artemisia and Tassi were not
going to be married, Orazio pressed charges against Tassi. Orazio also claimed
that Tassi stole a painting of Judith from the Gentileschi household. The major
issue ...

Artemisia Gentileschi  52 Masterpieces

Author: Maria Tsaneva

Publisher: Lulu Press, Inc

ISBN: 1312480769

Page:

View: 740

Artemisia Gentileschi was an Italian Baroque painter, considered one of the most accomplished painters in the generation following that of Caravaggio. In an era when women painters were not easily accepted by the artistic community or patrons, she was the first woman to become a member of the Accademia di Arte del Disegno in Florence. She painted many pictures of strong and suffering women from myth and the Bible - victims, suicides, warriors - and made it her specialty to paint the Judith story. Her best-known work is Judith Slaying Holofermes (a well-known medieval and baroque subject in art), which "shows the decapitation of Holofernes, a scene of horrific struggle and blood-letting". That she was a woman painting in the seventeenth century and that she was raped and participated in prosecuting the rapist, long overshadowed her achievements as an artist. For many years she was regarded as a curiosity. Nowadays she is regarded as one of the most talented and expressionist painters of her generation.

The Artemisia Files

In this volume the contributors attempt to give a more balanced view & to approach a genuine appreciation of Artemisia's considerable artistic talents.

The Artemisia Files

Author: Mieke Bal

Publisher: University of Chicago Press

ISBN: 0226035824

Page: 245

View: 337

An early icon of feminist art history, the work of Artemisia Gentileschi has been largely obscured by the sensational details of her life. In this volume the contributors attempt to give a more balanced view & to approach a genuine appreciation of Artemisia's considerable artistic talents.

Artemisia Gentileschi

Judith W. Mann, Introduction; R. Ward Bissell, Re-thinking Early Artemisia; Patrizia Cavazzini, The Other Women in Agostino Tassi's Life; Judith W. Mann , The Myth of Artemisia as Chameleon: A new Look at the London Allegory of Painting; ...

Artemisia Gentileschi

Author: Judith Walker Mann

Publisher: Brepols Pub

ISBN:

Page: 195

View: 716

Judith W. Mann, Introduction; R. Ward Bissell, Re-thinking Early Artemisia; Patrizia Cavazzini, The Other Women in Agostino Tassi's Life; Judith W. Mann , The Myth of Artemisia as Chameleon: A new Look at the London Allegory of Painting; Riccardo Lattuada and Eduardo Nappi, New Documents and Some Remarks on Artemisia's Production in Naples and elsewhere; Mary D. Garrard, Artemisia's Hand; Elizabeth Cohen, 'What's in a Name'...'; Ann Sutherland Harris, Artemisia and Orazio: Drawing Conclusions; Richard Spear, Money Matters; Alexandra Lapierre, Artemisia: Art, Facts and Fictions. Judith W.Mann is curator of early European art, Saint Louis Art Museum (SLAM), St. Louis, Missouri.

I Know What I Am

In 17th century Rome, where women are expected to be chaste and yet are viewed as prey by powerful men, the extraordinary painter Artemisia Gentileschi fends off constant sexual advances as she works to become one of the greatest painters ...

I Know What I Am

Author: Gina Siciliano

Publisher: Fantagraphics Books

ISBN: 1683962117

Page: 232

View: 120

In 17th century Rome, where women are expected to be chaste and yet are viewed as prey by powerful men, the extraordinary painter Artemisia Gentileschi fends off constant sexual advances as she works to become one of the greatest painters of her generation. Frustrated by the hypocritical social mores of her day, Gentileschi releases her anguish through her paintings and, against all odds, becomes a groundbreaking artist. Meticulously rendered in ballpoint pen, this gripping graphic biography serves as an art history lesson and a coming-of-age story. Resonant in the #MeToo era, I Know What I Amhighlights a fierce artist who stood up to a shameful social status quo.

Artemisia Gentileschi

Artemisia Gentileschi, widely regarded as the most important woman artist before the modern period, was a major Italian Baroque painter of the seventeenth century and the only female follower of Caravaggio.

Artemisia Gentileschi

Author: Mary D. Garrard

Publisher:

ISBN: 9780691040509

Page: 607

View: 702

Artemisia Gentileschi, widely regarded as the most important woman artist before the modern period, was a major Italian Baroque painter of the seventeenth century and the only female follower of Caravaggio. This first full-length study of her life and work shows that her powerfully original treatments of mythic-heroic female subjects depart radically from traditional interpretations of the same themes.

Artemisia Gentileschi and the Authority of Art

Catalogues of misattributed and lost paintings complete this comprehensive volume.

Artemisia Gentileschi and the Authority of Art

Author: R. Ward Bissell

Publisher: Penn State University Press

ISBN:

Page: 446

View: 417

One of the most memorable creative personalities of the Baroque age and arguably the most forcefully expressive and influential woman painter in history, the Roman-born Artemisia Gentileschi (1593-1652/3) has become the central figure in the recovery of the history of art produced by women. Applying a rigorous methodology, this profusely illustrated study with interpretative text and catalogue raisonné embeds Gentileschi's pictorially and emotionally compelling pictures within the actual sociocultural contexts in and for which they were created. The interpretive text analyzes key pictures and primary literary evidence to reveal the sweep of Artemisia's oeuvre, chart her travels, define her standing with artists and patrons of the period, investigate the links between her financial situations and the artistic decisions that she made, and assess the validity of proposals regarding her activity as a still-life painter, her access to professional organizations, her level of literacy, and the nature of her subject matter. Exploring the question of the interrelationships among Gentileschi's gender and experiences as a woman, the state of her psyche, and her art, the text also confronts--and often challenges--the widely embraced feminist interpretation of her pictures. Many of the conclusions in the text are supported by an extensive register of archival documents and by the very core of the study: the first and only catalogue raisonné of Artemisia's autograph works, each of the fifty-seven pictures exhaustively investigated as to basic factual information, condition and color, iconography, history, documentation and dating, existing copies, and bibliography. Catalogues of misattributed and lost paintings complete this comprehensive volume.

Artemisia Gentileschi

Artemisia Gentileschi (Rome 1593-Naples 1652/53) was one of the few successful female painters of the Sixteenth century.

Artemisia Gentileschi

Author: Artemisia Gentileschi

Publisher: Ore Cultura Srl (Acc)

ISBN: 9788871796680

Page: 287

View: 807

Artemisia Gentileschi (Rome 1593-Naples 1652/53) was one of the few successful female painters of the Sixteenth century. She was adopted by the feminist movement as a standard-bearer and through a distorted psychoanalytic reading she was believed to be e

Artemisia Gentileschi 68 Paintings

She painted many pictures of strong and suffering women from myth and the Bible - victims, suicides, warriors - and made it her speciality to paint the Judith story.

Artemisia Gentileschi  68 Paintings

Author: Jessica Findley

Publisher: Osmora Incorporated

ISBN: 2765905967

Page: 85

View: 892

Artemisia Gentileschi was an Italian Baroque painter, considered one of the most accomplished painters in the generation following that of Caravaggio. In an era when women painters were not easily accepted by the artistic community or patrons, she was the first woman to become a member of the Accademia di Arte del Disegno in Florence. She painted many pictures of strong and suffering women from myth and the Bible - victims, suicides, warriors - and made it her speciality to paint the Judith story. Her best-known work is Judith Slaying Holofermes, which "shows the decapitation of Holofernes, a scene of horrific struggle and blood-letting". That she was a woman painting in the seventeenth century and that she was raped and participated in prosecuting the rapist, long overshadowed her achievements as an artist. For many years she was regarded as a curiosity. Today she is regarded as one of the most progressive and expressionist painters of her generation.

Baroque Rococo

Artemisia Gentileschi ( b . Rome 1593 , d . Naples c . 1652 ) The general public
has learned something of the turbulent life of Artemisia Gentileschi through a
number of novels and films , which have made her a very topical figure : a woman
 ...

Baroque   Rococo

Author: Marco Bussagli

Publisher: Sterling Publishing Company, Inc.

ISBN: 9781402759253

Page: 192

View: 734

An era of exuberant creativity is the focus of this magnificently illustrated, competitively priced new art book. Baroque art was characterized by unbridled emotion, intricate decorative flourishes, and a dramatic use of light, reaching its summit in works such as Bernini’s magnificent altarpiece, The Ecstasy of St. Theresa. Over time, this robust genre evolved into the more ornate and sensuously playful Rococo, a style epitomized by the opulent paintings of Watteau. This beautifully produced exploration of both movements guides the reader through more than a century of art history--exploring the lives and works of sculptors such as Bernini, painters such as Watteau, Boucher, Rubens, and Hogarth, and architects such as Christopher Wren.

Orazio and Artemisia Gentileschi

This beautifully produced volume brings together for the first time works by two remarkable painters of seventeenth-century Italy who happen also to have been father and daughter: Orazio and Artemisia Gentileschi.

Orazio and Artemisia Gentileschi

Author: Keith Christiansen

Publisher: Metropolitan Museum of Art

ISBN: 9780300200096

Page: 496

View: 483

This beautifully produced volume brings together for the first time works by two remarkable painters of seventeenth-century Italy who happen also to have been father and daughter: Orazio and Artemisia Gentileschi. Famous in their own day, these two artists have enjoyed renewed fame in the twentieth century: Orazio as one of the first and certainly the most individual of Caravaggio's followers; Artemisia as the outstanding female painter prior to the twentieth century. The tumultuous lives of these two artists moved along parallel trajectories and take the reader from the popular quarters of papal Rome and the rough-and-tumble world of Naples to the courts of the grand duke of Tuscany, Marie de' Medici in Paris, and Charles I in London. These changing circumstances nourished two different aesthetic visions, both of which were deeply rooted in the Caravaggesque practice of painting directly from the posed model. While Orazio's art became every more refined and elegant, Artemisia espoused a rhetorical form of dramatic presentation that is the basis of Baroque painting. Written to accompany the landmark exhibition held in Rome, New York, and Saint Louis, the book includes essays that describe the art and people the two painters encountered in the course of their peripatetic careers and address such issues as feminism and the critical interpretation of Artemisia's work. The essays, arranged chronologically to follow the artists as they moved from city to city, not only provide critical commentary but illuminate the historical context in which they worked. The appendices include previously unpublished documents relating to the trial of Orazio's colleague Agostino Tassi for his rape of Artemisia, which shed new light on her father's workshop practice, and a recently discovered inventory of Artemisia's household goods drawn up on the eve of her departure from Florence to Rome. The book is the work of Keith Christiansen and Judith W. Mann, with contributions by a team of outstanding scholars. [This book was originally published in 2001 and has gone out of print. This edition is a print-on-demand version of the original book.]

Artemisia Gentileschi

Artemisia Gentileschi was the greatest female artist of the Baroque age and one of the most brilliant followers of the great Caravaggio.

Artemisia Gentileschi

Author: Jonathan Jones

Publisher: Laurence King Publishing

ISBN: 9781786276094

Page: 144

View: 150

Artemisia Gentileschi was the greatest female artist of the Baroque age and one of the most brilliant followers of the great Caravaggio. As a young woman she was raped by her tutor, and then had to endure a seven-month-long trial during which she was brutally examined by the authorities. Gentileschi was shamed in a culture where honor was everything. Yet she went on to become one of the most sought-after artists of the seventeenth century. Gentileschi's art communicated a powerful personal vision. Like Frida Kahlo, Louise Bourgeois, or Tracey Emin, she put her life into her art.

Nations Traditions and Cross cultural Identities

This is why Artemisia feels she is guiltier than ( the noblewomen , the spectators ]
: 34 However , in her reaction to the virtually finished painting , Artemisia ... 34
Artemisia Gentileschi : The Image of the Female Hero in Italian Baroque Art , pp .

Nations  Traditions and Cross cultural Identities

Author: Annamaria Lamarra

Publisher: Peter Lang

ISBN: 9783039114139

Page: 177

View: 823

The notion of citizenship is part of a national collective memory and a memory of individuals belonging to a specific geographical, historical and cultural context. The volume seeks to investigate the importance of women's relationship with citizenship and nationality from a diachronic perspective analysing different forms of writing in various European contexts. Many themes intersect in the different essays that comprise the volume, including the construction of female identity through religious ideology, the importance of translation and cultural studies as a source of feminine knowledge, and the relationship between public life and private domain within the multiculturalism of Europe. The intersection between national identity, women's writings and cultural difference surfaces in many essays and demonstrates how the notion of a necessary translation between cultures has been central for women authors since the seventeenth century.

Artemisia Gentileschi

as an inseparable binomial with father Orazio , although he did acknowledge her
superb technique . At the same time , there ... Luci e ombre del ' 600 . E
finalmente la figlia avrà una gloria tutta per sé , Artemisia Gentileschi Our
Contemporary.

Artemisia Gentileschi

Author: Luciano Berti

Publisher: Nicomp Laboratorio Editoriale

ISBN:

Page: 136

View: 541

Artemisia Gentileschi

"Although Florence was not considered a major center of activity for Caravaggesque painting during the early Seicento, elements of Caravaggesque style nevertheless appear in the work of some Tuscan artists during the second and third ...

Artemisia Gentileschi

Author: Carol Dodson Wyrick

Publisher:

ISBN:

Page: 202

View: 534

"Although Florence was not considered a major center of activity for Caravaggesque painting during the early Seicento, elements of Caravaggesque style nevertheless appear in the work of some Tuscan artists during the second and third decades. Stylistic sources for the assimilation of Caravaggesque tradition by these artists are limited to either Roman followers of Caravaggio who traveled through Tuscany, to trips Tuscan painters may have made to Rome, to Caravaggesque painting in the Medici collections or to the presence of Artemisia Gentileschi in Florence between 1613-1620. While the documentary evidence in support of the first two possibilities is inconclusive at best, the physical presence of Caravaggesque paintings in Florence as well as the presence of Artemisia as an actively practicing and respected Caravaggesque painter have been documented. This study represents an assessment of the extent and significance of Artemisia's contribution to Caravaggesque tradition in Tuscany derived from a stylistic analysis and comparison of her Florentine-produced work with selected paintings by three of her Tuscan contemporaries--Cristofano Allori, Francesco Rustici and Rutilio Manetti. The approach used centers on a reconstructive research methodology utilizing integrated scholarship from three areas: Italian painting ln the late Cinquecento and early Seicento, Artemisia's biography and a stylistic analysis of her Caravaggesque works produced between 1612- 1620. Within the framework of this art historical context, selected works by Allori, Rustici and Manetti are examined for the presence of stylistic elements that are more typical of Artemisia than Caravaggio, Orazio Gentileschi or other Caravaggist influences., A stylistic analysis and comparison of paintings by Caravaggio, Orazio and Artemisia reveals that Artemisia's Caravaggesque manner consistently displays several qualities which result from her own unique design. A similar approach between paintings by Artemisia.and Allori, Rustici and Manetti reveals an assimilation of some elements of her innovative Caravaggesque manner by each of these artists. While a complete assessment of her contribution is not possible, based on the limited amount of available documentation, it is clear from this stylis- tic analysis that Artemisia played a significant role in sustaining and enriching Caravaggesque tradition through her active role as a successful and respected Florentine painter"--Document.