Orazio and Artemisia Gentileschi. Father and Daughter Painters in Baroque Italy
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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
- 2. 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 images and text credit www. Music ThePianoGuys Lauren Daigle You Say Sonata Pathétique (PianoCello) created olga.e. thanks for watching
- 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.