Gentileschi, Artemisia


Gentileschi, Artemisia
(1593-1652)
   Artemisia was the daughter of Orazio Gentileschi, who trained her. Unlike other female artists of her era, she did not settle for lower genres but rather insisted on rendering mainstream scenes. Her favored subject was the female heroine, such as Judith and Lucretia. One of her earliest works is the Woman Playing a Lute (c. 1610-1612; Rome, Palazzo Spada), which she painted in Rome while in her teens. It shows her full command of the Caravaggesque vocabulary with a naturalistic figure emerging from the shadows to occupy most of the pictorial space. Her Judith Slaying Holofernes (1612-1613; Naples, Museo Nazionale di Capodimonte) presents a tighter composition than Caravaggio's version (c. 1598; Rome, Galleria Nazionale d'Arte Antica), the subject one Artemisia would tackle on several occasions. In 1612, she was brutally raped by Agostino Tassi, one of Orazio's pupils. After a seven-month trial, Tassi served a short jail sentence and was ultimately acquitted. Some have viewed the Judith paintings as Artemisia's imagined revenge against her assailant. After the trial, Artemisia was married off to the Florentine artist Pietro Antonio di Vincenzo Strattesi, the relative of a key witness who testified on her behalf. The marriage did not last and soon Artemisia is documented living alone with her daughter Prudentia.
   In Florence, she worked for Grand Duke Cosimo II de' Medici and, by 1620, she was back in Rome receiving commissions from both local and foreign patrons. She created her Lucretia (c. 1621; Genoa, Palazzo Cataneo-Adorno) for Pietro Gentile, a Genoese nobleman and collector. Like Artemisia, Lucretia was a victim of rape and chose to commit suicide rather than bring shame to her family. While most depictions of her story presented her plunging the knife into her chest, Artemisia preferred to capture her psychological struggle as she chooses between life and death. Artemisia's Self-Portrait as the Allegory of Painting (1630; Windsor, Royal Collection) is just as innovative. Rendered in Naples where she moved sometime before 1630, the work shows the artist caught in the frenzy of creation, leaning over to see her reflection in a mirror outside the painting.
   While in Naples, Artemisia came into contact with the works of Domenichino and Giovanni Lanfranco who had introduced the classical vocabulary of Bologna to the region. This resulted in a change in her style. Her Lot and His Daughters (1640s; Toledo, Museum of Art) and Corsica and the Satyr (1640s; private collection) belong to this phase in her career. In these works, the figures, now slimmer and more graceful, are pushed back to reveal a fully developed background. Artemisia never left Naples, save for a three-year stay in the court of Charles I of England where her father was working. In a letter to one of her patrons she wrote, "And I will show Your Lordship what a woman can do!" This reflects her ambition in wanting to achieve the same fame as some of her male predecessors. Artemisia certainly attained her goal. While living, she became an international celebrity, a status she quickly lost after her death when she fell into a long period of obscurity that lasted until 1989 when interest in her oeuvre was resurrected.

Historical dictionary of Renaissance art. . 2008.

Look at other dictionaries:

  • GENTILESCHI, Artemisia — (1593 1652/53) Artemisia Gentileschi was the first female Italian artist determined to compete with the male artists of her time; she claimed to have the spirit of Caesar in the soul of a woman. Artemisia deserves recognition as a transmitter of… …   Renaissance and Reformation 1500-1620: A Biographical Dictionary

  • Gentileschi, Artemisia — born 1593, Rome, Papal States died 1652/53, Naples, Kingdom of Naples Italian painter. The daughter of Orazio Gentileschi, she studied with him and with the landscape painter Agostino Tassi. Her earliest known work is Susanna and the Elders… …   Universalium

  • Gentileschi, Artemisia — (1593, Roma, Estados Pontificios–1652/53, Napolés, Reino de Nápoles). Pintora italiana. Hija de Orazio Gentileschi, estudió con él y con el paisajista Agostino Tassi. Su obra más temprana conocida es Susana y los ancianos (1610), atribuida… …   Enciclopedia Universal

  • Gentileschi, Artemisia — (1593 1652/3)    One of the first female painters since ancient times to attain recognition as an important artist. She was the daughter of a pupil of the artist Caravaggio and was born and trained at Rome. Her paintings of biblical women such as …   Historical Dictionary of Renaissance

  • Gentileschi,Artemisia — Gen·ti·le·schi (jĕn tē lĕsʹkē), Artemisia. 1593? 1652?. Italian Renaissance painter whose works include self portraits and paintings of courageous women of the Old Testament. * * * …   Universalium

  • Artemisia Gentileschi — Saltar a navegación, búsqueda Artemisia Gentileschi …   Wikipedia Español

  • Artémisia Gentileschi — Artemisia Gentileschi Artemisia Lomi Gentileschi Autoportrait en Allégorie de la peinture 1638 1939, Royal Collection, Windsor Naissance 8 juillet 1593 …   Wikipédia en Français

  • Artémisia — Artemisia Cette page d’homonymie répertorie les différents sujets et articles partageant un même nom. Artemisia est, en botanique, le nom latin de l armoise. Artemisia est aussi un prénom féminin, porté notamment par : Artemisia Gentileschi …   Wikipédia en Français

  • Gentileschi, Orazio — orig. Orazio Lomi born 1562, Pisa died с 1639, London, Eng. Italian painter. He went to Rome с 1576–78 and painted frescoes in various churches (с 1590–1600). His paintings of the early 17th century reveal the influence of Caravaggio s strong… …   Universalium

  • Artemisia — Cette page d’homonymie répertorie les différents sujets et articles partageant un même nom. Artemisia est, en botanique, le nom latin de l armoise. Artemisia est aussi un prénom féminin, formé à partir du substantif grec artemia, intégrité… …   Wikipédia en Français


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