Artemisia Gentileschi

Description

Artemisia Gentileschi

Born: July 8, 1593 in Rome.
Died: 1652-1656. Exact year is unknown.

Movement: Baroque

Interesting Facts:

Eldest child of Tuscan painter Orazio Gentileschi.
Some of her paintings have been mistakenly attributed to her father, Orazio Gentileschi.
Her paintings were heavily influenced by Caravaggio.
Artemisia became a successful court painter in Florence, Italy.
She was the first woman accepted into the Academia delle Arti del Disegno (Academy of the Arts of Drawing).
She had five children; four sons and one daughter with her husband, Pierantonio Stiattesi. But only the daughter, Prudenzia, lived to adulthood. She also had another daughter (Father unknown) around 1627.
She was friends with Galileo Galilei.

Gentileschi art book contains 30+ Reproductions of portraits, mythical and religious scenes with title and date.

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Artemisia Gentileschi

Born: July 8, 1593 in Rome.
Died: 1652-1656. Exact year is unknown.

Movement: Baroque

Interesting Facts:

Eldest child of Tuscan painter Orazio Gentileschi.
Some of her paintings have been mistakenly attributed to her father, Orazio Gentileschi.
Her paintings were heavily influenced by Caravaggio.
Artemisia became a successful court painter in Florence, Italy.
She was the first woman accepted into the Academia delle Arti del Disegno (Academy of the Arts of Drawing).
She had five children; four sons and one daughter with her husband, Pierantonio Stiattesi. But only the daughter, Prudenzia, lived to adulthood. She also had another daughter (Father unknown) around 1627.
She was friends with Galileo Galilei.

Gentileschi art book contains 30+ Reproductions of portraits, mythical and religious scenes with title and date.

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The Passion of Artemisia: A Novel

Product Details

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• Prepare: New
• ISBN13: 9780142001820

Description

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Like her bestselling debut, Girl in Hyacinth Blue, Susan Vreeland's second novel, The Passion of Artemisia, traces a particular painting through time: in this case, the post-Renaissance painter Artemisia Gentileschi's violent masterpiece, "Judith." Although the novel purports to cover the life of the painter, the painting serves as a touchstone, foreshadowing Artemisia's rape by Agostino Tassi, an assistant in her father's painting studio in Rome; the well-documented (and humiliating) trial that followed; the early days of her hastily arranged marriage; and her eventual triumph as the first woman elected to the Accademia dell' Arte in Florence. Although Vreeland makes a bit free with her characters (which she admits in her introduction), attributing some decidedly modern attitudes to people who would not have thought that way at the time, her book is beautifully researched and rich with casual detail of clothing, interiors, and street life. She deftly works history and politics into the background of her canvas, keeping her focus on Artemisia and her family. Beyond the paintings Artemisia left behind, Vreeland's vision may be as close as we can come to understanding the anger and ambition that kept this talented woman at the doors of the Accademia, demanding entrance, in a time when respectable women rarely left their homes. --Regina Marler

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Artemisia Gentileschi

Description

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.

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Orazio and Artemisia Gentileschi

Description

Father and daughter Orazio and Artemisia Gentileschi were unusual and gifted artists. Orazio Gentileschi (1563-1639) was the most talented follower of Caravaggio and a figure of international renown, active at the courts of Marie de' Medici in France, Charles 1 in England, and in Rome, Genoa, and Turin. Artemisia (1593-1652/3) was the first Italian woman artist who was not only praised for her art by her contemporaries but whose paintings influenced the work of later generations. She is today a key figure in gender studies. Essays by an international group of art historians not only explore the development of each of these two painters individually but also compare their work, showing how both were influenced by their times and milieus. The book also includes new transcriptions of key parts of the notorious rape trial of Artemisia. This beautiful book is the catalogue for the first full-scale exhibition of the works of Orazio and Artemisia Gentileschi, held at The Metropolitan Museum of Art from 14th February to 12th May 2002, travelling thereafter to the St Louis Art Museum and to Rome.

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Artemisia Gentileschi

Description

Artemisia, painter, was obliged by her father Orazio to testify in a trial against the painter Agostino Tassi, accused of having raped her when she was seventeen years old.

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Artemisia: A Novel

Description

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Small wonder that biographer Alexandra Lapierre was drawn to write about Artemisia Gentileschi, one of the first female painters to gain acclaim in the male-dominated 17th-century art world. Her story has all the ingredients of high drama: rape, jealousy, and an infamous court trial set against a backdrop of art and passion. Meticulously researched, framed in a fictional context, Lapierre's treatment applies a painterly touch to a scholarly work. Billed as a biography in the U.K. but as a novel in the U.S., it combines the rigor of one genre with the page-turning immediacy of the other.

Born in Rome to the artist Orazio Gentileschi and his wife Prudenzia, Artemisia's life was turned upside down after the death of her mother. Orazio jealously guarded his only daughter, refusing her outside contact even as he taught her the subtleties of painting. At 17, Artemisia, already a skilled artist, was facing a life of spinsterhood as her father's prisoner. Yet the Gentileschi household was full of the comings and goings of artists whose shifting allegiances were as complex as the politics of the time. When Orazio's friend, arrogant trompe l'oeil master Agostino Tassi, set his sights on young Artemisia, her refusals only stoked his passion. What followed was rape. Tassi kept her quiet through promises of marriage; when marriage was not forthcoming, Tassi found himself in court.

Even under torture, Artemisia's statement never wavered, and eventually Tassi was convicted. The mild sentence scarcely harmed him, yet the experience had a lasting effect on his victim. Touched by scandal, Artemisia was able to marry an inferior painter only by virtue of a substantial dowry. Through an unhappy marriage, the deaths of her first children, and the lives of her daughters, however, she continued to paint, eventually gaining considerable acclaim. Interestingly enough, given her experiences, her paintings of religious allegory often portrayed women in illustrations of strength and dominance. If her depiction of Judith violently decapitating Holofernes elicited the Grand Duchess's repulsion, the Grand Duke Cosimo II was riveted. Others in the room saw the allusion to the artist's own past: "'This face, so close to death, brings someone to mind,' the secretary, Andrea Cioli, interjected insidiously. 'A painter, your Highness...'"

Artemisia blends storytelling and careful detail in a complex rendering that will particularly appeal to readers with an interest in either Baroque art or Italian history. Color plates illustrate the haunting quality of Artemisia's work, and the end notes make clear which portions derive from documentation and which are fictional strokes of color. The uninitiated may have a difficult time unraveling the intricacies of characters and politics, perhaps because Lapierre is more at home with scholarship than with fiction. Worse, her breathless prose sometimes tries too hard, even while doing little to reveal her characters' inner worlds. In the end, it's both the compelling quality of Artemisia's story and the lushness of Lapierre's supporting detail that hold this unusual book together. --Anne DeGrace

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