Artemisia Gentileschi images
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Artemisia Gentileschi


"Artemisia was born in Rome...

8 paintings by Gentileschi

Women Artists

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"Artemisia Gentileschi was born in Rome. She worked in a style influenced by Caravaggio, but which was nonetheless strongly individual, and today she is regarded as one of the most accomplished of the so called Caravaggisti. Though rather marginalized in earlier art historical accounts of her period, Artemisia has been reassessed in recent years, particularly by feminist art historians, who have discerned a specifically female point of view in her work. Her treatment of Susanna and the Elders (1610, Pommersfelden, Schloss Weissenstem), for example, concentrates on the vulnerability of a naked woman whose private bath has been violated by the predatory elders; male painters generally appear to give emphasis to the sensuality of Susanna's nudity, such that the (presumably male) viewer of the painting becomes in effect a third voyeur (e.g. Tintoretto, 1557, Vienna, Kunsthistorisches Museum; Guido Rem, London, National Gallery). Artemisia's Judith Beheading Holofernes (Florence, Uffizi; a subject to which she returned a number of times) is notable for its extreme violence and has been linked to the trauma of her alleged rape in 1612 at the age of 19 by her painting instructor, Agostino Tassi. Her father sued Tassi for the crime, but in the ensuing legal proceedings Artemisia was tortured and Tassi was ultimately acquitted. The violence of these particular paintings is thus sometimes seen as a kind of therapeutic revenge substitute. During her lifetime she enjoyed a Europe wide reputation as a painter, working mainly in Rome and Florence, before settling in Naples from 1630. The Royal Collection contains her remarkable Self portrait as Painting."

- From The Bulfinch Guide to Art History

Gentileschi images

1610 Susannah and the Elders
c. 1612-13 Judith and Her Maidservant
c. 1613-20 Mary Magdalen
c. 1615 Self-Portrait as a Female Martyr
1620 Judith Beheading Holofernes
c. 1620 Saint Cecilia
c. 1630-32 Penitent Magdalene
1638-39 Self-Portrait as the Allegory of Painting

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