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  Artemisia Gentileschi  
 
 
 
 
 
 
 
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Artemisia Gentileschi
 
 

Self-Portrait as the Allegory of Painting
1630s
Oil on canvas, 96,5 x 73,7 cm
Royal Collection, Windsor
 
 
Artemisia Gentileschi, (born July 8, 1593, Rome, Papal States [Italy]—died 1652/53, Naples, Kingdom of Naples), Italian painter, daughter of Orazio Gentileschi, who was a major follower of the revolutionary Baroque painter Caravaggio. She was an important second-generation proponent of Caravaggio’s dramatic realism.

A pupil of her father and of his friend the landscape painter Agostino Tassi, she painted at first in a style indistinguishable from her father’s somewhat lyrical interpretation of Caravaggio’s example. Her first known work is Susanna and the Elders (1610), an accomplished work long attributed to her father. She also painted two versions of a scene already essayed by Caravaggio (but never attempted by her father), Judith Beheading Holofernes (c. 1612–13; c. 1620). She was raped by Tassi, and, when he did not fulfill his promise to marry her, Orazio Gentileschi in 1612 brought him to trial. During that event she herself was forced to give evidence under torture.

Shortly after the trial she married a Florentine, and in 1616 she joined Florence’s Academy of Design, the first woman to do so. While in Florence she began to develop her own distinct style. Unlike many other women artists of the 17th century, she specialized in history painting rather than still life and portraiture. In Florence she was associated with the Medici court and painted an Allegory of Inclination (c. 1616) for the series of frescoes honouring the life of Michelangelo in the Casa Buonarotti. Her colours are more brilliant than her father’s, and she continued to employ the tenebrism made popular by Caravaggio long after her father had abandoned that style.

Artemisia Gentileschi was in Rome for a time and also in Venice. About 1630 she moved to Naples, and in 1638 she arrived in London, where she worked alongside her father for King Charles I. They collaborated on the ceiling paintings of the Great Hall in the Queen’s House in Greenwich. After Orazio’s death in 1639, she stayed on in London for at least several more years. According to her biographer Baldinucci (who appended her life to that of her father), she painted many portraits and quickly surpassed her father’s fame. Later, probably in 1640 or 1641, she settled in Naples, where she painted several versions of the story of David and Bathsheba, but little is known of the final years of her life.

Encyclopædia Britannica

 
 
 

Birth of St John the Baptist
c. 1635
Oil on canvas, 184 x 258 cm
Museo del Prado, Madrid
 
 



Bathsheba






Susanna and the Elders
1610
Oil on canvas, 170 x 121 cm
Schloss Weissenstein, Pommersfelden





Judith Beheading Holofernes
1612-21
Oil on canvas, 199 x 162 cm
Galleria degli Uffizi, Florence






Judith and her Maidservant
1612-1613
Oil on canvas, 114 x 93.5 cm
Galleria Palatina (Palazzo Pitti), Florence







Lucretia
1620

 
 
 


St Catherine of Alexandria
c. 1620
Oil on canvas, 77 x 62 cm
Galleria degli Uffizi, Florence





St Cecilia Playing a Lute
c. 1616
Oil on canvas, 108 x 79 cm
Galleria Spada, Rome





Clio, the Muse of History
1632
Oil on canvas, 128 x 97 cm
Cassa di Risparmio di Pisa, Pisa





Portrait of a Condottiero
1622
Oil on canvas, 208 x 128 cm
Palazzo d'Accursio, Bologna





Danaë
c. 1612
Oil on copper, 41 x 53 cm
Art Museum, Saint Louis




Judith Beheading Holofernes
1611-12
Oil on canvas, 158,8 x 125,5 cm
Museo Nazionale di Capodimonte, Naples







The Penitent Mary Magdalen
1620-25
Oil on canvas, 146 x 109 cm
Galleria Palatina (Palazzo Pitti), Florence





Minerva
1640s
Oil on canvas, 131 x 103 cm
Galleria degli Uffizi, Florence





St Catherine of Alexandria
1640s
Oil on canvas, 76 x 60 cm
Private collection

 
 
 

 
 
 
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