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  Orazio Gentileschi  
 
 
 
 
 
 
 
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Orazio Gentileschi
 
 
 
Orazio Gentileschi, original name Orazio Lomi (born 1562, Pisa [Italy]—died Feb. 7, 1639, London, Eng.), Italian Baroque painter, one of the more important painters who came under the influence of Caravaggio and who was one of the more successful interpreters of his style. His daughter, Artemisia Gentileschi, who was trained in his studio, also became a noteworthy Baroque artist.

Gentileschi first studied with his half brother Aurelio Lomi. At some time in the late 1570s or early 1580s he went to Rome, where, with the landscape painter Agostino Tassi, he painted frescoes in churches of Santa Maria Maggiore, San Giovanni Laterano, and Santa Nicola in Carcere from about 1590 to 1600, executing figures for Tassi’s landscapes.

In the first years of the 17th century Gentileschi came under the influence of Caravaggio, also in Rome at the time. His paintings of this period—e.g., David and Goliath (1610?) and St. Cecilia and the Angel (1610?)—employ Caravaggio’s use of dramatic, unconventional gesture and monumental composition, his uncompromising realism and contemporary representation of figure types, and to some extent his strong chiaroscuro, or light-and-dark contrast.

Shortly afterward Gentileschi developed a Tuscan lyricism foreign to Caravaggio’s almost brutal vitality, a lighter palette, and a more precise treatment reminiscent of his Mannerist beginnings. From 1621 to 1623 Gentileschi was in Genoa, where he painted his masterpiece, The Annunciation (1623), a work of consummate grace that shows a weakening of Caravaggio’s influence. The composition still depends on dramatic gestures, here of the Virgin and the angel, and there is still a strong immediacy to the incident and an absence of idealization. The mood, however, is more restrained and lyrical than in his earlier works, the colours are light, and the earlier chiaroscuro is absent.

After a stay in France, Gentileschi traveled to England in 1626 at the invitation of King Charles I. He remained there as court painter for the rest of his life, his work becoming increasingly conventional and decorative. His last major work is an ambitious series of ceiling paintings, which he worked on with his daughter, Artemisia, for the Queen’s House in Greenwich; painted in 1638, the ceiling panels have since been removed to Marlborough House, London.

Encyclopædia Britannica

 
 
 

Madonna and Child





Annunciation
c. 1623
Oil on canvas, 286 x 196 cm
Galleria Sabauda, Turin







David Contemplating the Head of Goliath
c. 1610
Oil on canvas, 173 x 142 cm
Galleria Spada, Rome




 



Danae
c. 1621
Oil on canvas, 163,5 x 228,5 cm
Cleveland Museum of Art, Cleveland



El nino Jesus dormido sobre la cruz



Finding of Moses
1630-33
Oil on canvas, 242 x 281 cm
Museo del Prado, Madrid



Judith and Her Maidservant with the Head of Holofernes



Landscape with St. Christopher


Two Women with a Mirror
Oil on canvas, 132,7 x 154 cm
Alte Pinakothek, Munich



Sts Cecilia, Valerianus and Tiburtius
c. 1620
Oil on canvas, 350 x 218 cm
Pinacoteca di Brera, Milan



Cupid and Psyche
1628-30
Oil on canvas, 137 x 160 cm
The Hermitage, St. Petersburg



Madonna Nursing the Christ Child


Young Woman with a Violin

 
 
 

The Vision of St Francesca Romana
1615-19
Oil on canvas
Galleria Nazionale delle Marche, Urbino







Public Felicity Surmounting Perils





Lute Player
c. 1626
Oil on canvas, 144 x 130 cm
National Gallery of Art, Washington


 


Verdugo con la cabeza de San Juan



St Francis Supported by an Angel
c. 1603
Oil on canvas, 126 x 98 cm
Museo del Prado, Madrid



St Francis and the Angel
1612-13
Oil on canvas, 133 x 98 cm
Galleria Nazionale d'Arte Antica, Rome



Joseph and Potiphar's Wife
1626-30
Oil on canvas, 204,9 x 261,9 cm
Royal Collection, Windsor




Lot and his Daughters
c. 1621
Oil on canvas
Thyssen-Bornemisza Collection, Madrid



Madonna
Oil on canvas, 131 x 91 cm
Galleria Nazionale d'Arte Antica, Rome



Rest on the Flight into Egypt
1628
Oil on canvas
Musee du Louvre, Paris


Saint Cecilia and an Angel

 
 
 

 
 
 
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