the tumultuous lives of these two artists moved along parallel trajectories from the popular quarters of papal Rome to the courts of the grand duke of Tuscany, Marie de' Medici in Paris, and Charles I in London ...
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Orazio and Artemisia Gentileschi. Father and Daughter Painters in Baroque Italy
3. the tumultuous lives of these two artists moved along parallel trajectories from the popular quarters of papal Rome
to the courts of the grand duke of Tuscany, Marie de' Medici in Paris, and Charles I in London ...
5. Saint Catherine of Alexandria, a Christian saint
who died for her faith in the early fourth century
She leans on a broken wheel studded with iron
spikes, on which she was bound and tortured ...
Artemisia Gentileschi
Self-Portrait as Saint Catherine of Alexandria
Autoportrait comme Sainte Catherine d'Alexandrie
1616
National Gallery, London
6. ... Artemisia appears in the guise of Catherine of Alexandria
a direct reference to the trial following her rape, trial in which her fingers were crushed to verifying
her testimony
9. Judith beheading Holofernes …
the “Power of Women dominating powerful men”
a medieval and Renaissance artistic topos
Artemisia Gentileschi
Judith Beheading Holofernes
Judith décapitant Holopherne
1614-1620
Galleria degli Uffizi, Florence
14. an impressive composition
an theatrical lighting of the scene …
the maidservant Abra wrapping the severed head in a bag,
moments after the murder, while Judith keeps watch
Artemisia Gentileschi
Judith and Maidservant with Head of Holofernes
Judith et sa servante avec la tête d'Holopherne
1625-1627
Museo e Real Bosco di Capodimonte,
Napoli
19. Judith and her maidservant return to Bethulia …
the maid carries Holofernes' head in a basket
Artemisia Gentileschi
Judith and her Maidservant
Judith et sa servante
1618-1619
Galleria Palatina, Palazzo Pitti, Florence
24. Esther appears before her husband,
King Ahasuerus of Persia,
in order to stave off a massacre
of the Jewish people
Esther faints before the king
grants her request
Artemisia Gentileschi
Esther before Ahasuerus
Esther devant Assuérus
1628-1635
Metropolitan Museum of Art,
Manhattan, New York City
27. two elderly men spy on a young woman
demanding sexual favors that she refuses
Susanna is falsely accused of adultery
and a young Hebrew sage named Daniel intervenes
Artemisia Gentileschi
Susanna and the Elders
Suzanne et les Vieillards
1610
Schloss Weißenstein, Pommersfelden
30. David, while walking on the roof of his palace,
saw a very beautiful woman bathing ...
Artemisia Gentileschi
Bathsheba
Bethsabée
1645-1650
Neues Palais, Potsdam
35. the search of virtue and the renunciation of worldly pleasures ...
Artemisia Gentileschi
Conversion of the Magdalena, The Penitent Mary Magdalen
Marie Madeleine ou La Conversion de Madeleine
1620
Galleria Palatina, Palazzo Pitti, Florence
38. a extraordinary woman ...
Artemisia Gentileschi
Self-Portrait as the Allegory of Painting
Autoportrait en allégorie de la peinture
1638-1639
Royal Collection, Windsor
39. “ As long as I live, I will have control over my being "
“ My mustrious lordship, I'll show you what a woman can do "
“ You will find the spirit of Caesar in this soul of woman "
43. the biblical subject …
the brave shepherd boy brings down
the Philistine soldier Goliath with stones in a sling
and then cuts off his head
Orazio Gentileschi
David and Goliath
David et Goliath
1605-1607
National Gallery of Ireland, Dublin
48. the city of Sodom burning in the distance
and
in a cave ...
believing their family the last people on earth,
Lot’s daughters conspired to continue the
human race by getting their father drunk and
seducing him …
Orazio Gentileschi
Lot and his Daughters
Loth et ses filles
1622
J. Paul Getty Museum, Los Angeles
53. a story from the Old Testament,
the book of Judith …
a beautiful Jewish widow
her maidservant Abra
a murder weapon
and
a wicket basket holding
the severed head of Holofernes
Orazio Gentilesch
Judith and her maidservant with
the head of Holofernes
Judith et la servante
avec la tête d'Holopherne
1608
National Museum, Oslo
59. Saint Cecilia, patron saint of music,
and an angel who holds a sheet of music
Orazio Gentileschi
Saint Cecilia with an Angel
Sainte Cécile et un Ange
1618-1621
National Gallery of Art, Washington
63. Saint Francis, who has collapsed in an ecstatic
swoon after receiving the stigmata, is consoled
by his guardian angel
Orazio Gentileschi
Saint Francis Supported by an Angel
Saint François Soutenu par un ange
1603
Museo del Prado, Madrid
67. an masterpiece …
the huge red drape
hanging behind the Madonna's pure white bed
is an overt homage to Caravaggio
Orazio Gentileschi
Annunciation
L'Annonciation
1623
Galleria Sabauda, Turin
72. a powerful work
a masterful chiaroscuro
Orazio Gentileschi
Christ Crowned with Thorns
Christ couronné d'épines
1610-1615
Herzog Anton Ulrich-Museum,
Braunschweig
75. an moving moment from the Passion
solemnity and pathos
Orazio Gentileschi
Carrying the Cross
Le Christ portant la croix
1605-1607
Kunsthistorisches Museum, Vienna
78. seeking divine inspiration ...
one of the twelve sibyls
that foretold the coming of Christ
Orazio Gentileschi
A Sybil
Une Sibylle
1635-1638
Royal Collection Trust, London
82. Artemisia as a Sibyl …
Orazio Gentileschi
Portrait of a Young Woman as a Sibyl
Portrait de jeune femme en Sibylle
1620-1626
Museum of Fine Arts, Houston
87. a young woman in a golden dress with a lute …
Orazio Gentileschi
The Lute Player
Le joueur de luth
1612-1620
National Gallery of Art, Washington
91. olga_oes
Orazio and Artemisia Gentileschi.
Father and Daughter Painters in Baroque Italy
Orazio et Artemisia Gentileschi.
Père et fille peintres dans l'Italie baroque
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92. ... "Artemisia has become so skilled that I can venture to say that today she has no peer.
Indeed, she has produced works which demonstrate a level of understanding that perhaps even the principal
masters of the profession have not attained."
Orazio Gentileschi in a letter of 1612 to the powerful Christina of Lorraine, the mother of Cosimo II de’Medici,
the Grand Duke of Tuscany
93. Today, much scholarly and popular attention has tended to focus on Artemisia.
However, in the 17th century Orazio's fame eclipsed that of his daughter. Beyond Italy, he worked at the
courts of Marie de' Medici in Paris and of Charles I in London.
His paintings are characterized by their compact, tightly constructed compositions – surprisingly devoid of
the dramatic urgency that lies at the core of Artemisia's paintings – and his brilliant use of color. He is often
described as a poet of light – nowhere more so than in his sublime Annunciation (1623; Galleria Sabauda,
Turin).
Fueled by feminist studies, interest in Artemisia has increased enormously over the last quarter of a
century.
However, her reputation as an artist has often been overshadowed by the notorious public trial that
followed her rape by an associate of her father's, the painter Agostino Tassi, when she was still a teenager.
Rejecting the specialties of portraiture and still life – the genres deemed suitable to women artists –
Artemisia sought to compete, and sometimes collaborate, with her male colleagues, undertaking
mythological, allegorical, and Biblical themes.
Far from shying from the often violent, erotically charged subjects often portrayed in Baroque art, she made
them the focus of her activity, giving special prominence to stories involving a female protagonist or victim.
In this, her work has often been seen as an extension of her own biography. At a time when marriage or the
convent were the only respectable alternatives held out to a woman, Artemisia chose to live by her brush
and succeeded.