Artemisia Gentileschi

Feminism has been a controversial topic since as early as the 19th century. Feminism has had a profound effect on women’s roles in society as well as their everyday life. There are countless feminists whose achievements are still recognized and remembered today. Jane Addams is a historical feminist who changed the lives for the women of her time, and is still talked about to this day. While feminism was huge in the earlier years of America, there are contemporary feminists who fight for the rights and equality of women that are still not met. In recent years, Gloria Steinem has spoken up for the equality of women and pushed for social reform. Jane Addams and Gloria Steinem are more than feminists, they are activists with many accomplishments that changed the lives for every woman of their time.

Judith Slaying Holofernes is one of her masterpieces that has been acknowledged as a proper piece to understand the main characteristics of her painting style. Carol Strickland, an American art historian, explains that this painting shows how Gentileschi depicted her subject into the style of Caravaggio, who was her father’s teacher and famous for dramatic lightning (Strickland, 47). Based on these facts, some critics conjecture that Gentileschi may just have borrowed the dramatic story from the Book of Judith to express her technique that resembled that of Caravaggio. They argue that it is unreasonable and too subjective to relate Judith Slaying Holofernes with the identity of Gentileschi. Identity of Gentileschi, however, cannot be separated with the story of Judith and the painting Judith Slaying Holofernes because Gentileschi’s identity severely resembles that of Judith. Their struggle, success leaded by their capacity, and destruction of the gender stereotypes are main common aspects that Judith and Gentileschi share. These qualities further prove how Artemisia Gentileschi was an ideal feminist who asserted her freedom inside an unfair

Despite the years of oppression, women have overcome sexism and have made a difference. Since the late 18th century, around The French Revolution, women have been fighting for equality, freedom, and rights. These women became known as feminist. Feminists have been fighting for years, and to this day, for equal rights, and they have won many battles. Here are some examples in recent history of how women succeeded: from 1916-1920, women started Women’s suffrage. The 19th Amendment passed allowing women the rights

Artemisia Gentileschi was not the first to paint Judith Slaying Holofernes. Her father had painted Judith. Michelangelo, Botticelli and Caravaggio had painted Judith. Donatello had sculpted Judith. But she was the first to interpret the story of Judith, in a time when women had few rights, as an allegory for female dominance. In comparison with other contemporary versions, the composition, dramatic style, and emotions of the characters present a violently feminist view that may have stemmed from Gentileschi's own experiences.

Jane Addams, Susan B. Anthony, and Elizabeth Cady Stanton. These women lived at the turn of the century, and fought vehemently for a cause they believed in. They knew that they were being discriminated against because of their gender, and they refused to take it. These pioneers of feminism paved the road for further reform, and changed the very fabric of our society.

Another interesting commonality between the two is that Anguissola’s mother died when she was around 4 or 5. Similarly, Gentileschi lost her mother at a young age, when she was around 12 years old. Gentileschi must have struggled more as a result than her fortunate predecessor, as she was not from prestigious family. Her father was a fairly well-known artist who worshipped Michelangelo Merisi Caravaggio’s style, especially his use of tenebrism. This adoration was imparted to his daughter Artemisia, who often copied this style. Intriguingly, there is a bizarre connection even in this. There is some rumor that a drawing that Anguissola had sent to the famed artist Michelangelo di Lodovico Buonarroti Simoni (the more famous one), had ended up in a notebook belonging to Giorgio Vasari, and is suspected to have been discovered by Caravaggio, which later inspired his painting ‘Boy Bitten by a Lizard’. There is a clear connection through time between these two women. Yet, in a way seems to have been founded through pure chance and phenomenon. As hard as it is to believe, this is not the only person who intertwines these women together. Anthony Van Dyke visited Anguissola when she was very old, and blind, but spent hours

Artemisia Gentileschi is believed to have been born around 1593 and died around 1652.  Both dates are disputed to the current day.  She was one of five children and was born into the life of an artist.  Her father, who was an artist as well, loved her greatly.  Her mother died when she was twelve.  Artemisia was always a skilled painter, but her father wanted even more for her daughter.  While her works were already amazing for her age, she needed artistic guidance in order to further her skills.  One man who was hired as a tutor was named Agostino Tossi.  Tossi almost immediately was an annoying presence in the house frustrating Artemisia.  However, in 1610,

Artemisia Gentileschi was born in Rome in 1593. Her father was Orazio Gentileschi, a very well-known artist in Rome at that time. At this time, men ruled the art world. This was the post-renaissance era, and women were only involved in portrait painting. She was known for painting religious and historical scenes, paving the way for other female artists. She received training from her father in her early years as an artist. Gentileschi, tragically, was raped by an artist who was friends with her father. He was exiled from Rome when put to trial. She also lost her mother when she was 12. Her childhood and young adult years were not easy. Through her struggles, she managed to overcome all odds and make her work known in an art world run by men.

I had never heard of the artist Artemisia Gentileschi before this introductory Art course. Of all the paintings and sculptures found within the book, it was her work that stood out and spoke to me. "Judith and Maidservant with the head of Holofernes" is a particularly rich oil painting by the Italian Gentileschi, painted circa 1625 Europe. Her large canvas measures 72 and 1/2 inches by 55 and 3/4 inches and began as a biblical story telling inspiration come to life within the oil. Located at the Detroit Institute of Arts, the painting was a gift to the institute from Art collector Mr. Leslie H. Green in 1952. Artemisia was the daughter of a painter (and caravaggio influenced) Orazio Gentileschi, she was also the wife of little known artist

Nanette Salomon, a very well known feminist writer, wrote the article, “Judging Artemisia: A Baroque Woman in Modern Art History.” The article opens up with a discussion about the 2001-2 exhibition of Orazio and Artemisia Gentileschi: Father and Daughter Painters in Baroque Italy. The author explains that three things are unusual here: the fact that two famous artists were presented at the same time, that they were related as father and daughter, and the fact that the woman was better known than the man. Her intent in this article is to look at the effects of this trope (figure of speech) in the past and in the present.

In this case her art work that has had much fame. Artemisia’s was the first female artist, this is a great accomplishment because despite all the shame people put on woman in her time, she became a well known artist and was a huge example for other woman. Gentileschi was the daughter of Orazio Gentileschi; An Italian Baroque painter. Orazio was one of the most important painters who was influenced by Caravaggio.

The passage that I read is about renowned female Baroque (and Renaissance) painter Artemisia Gentileschi.She was taught by her father at a young age. However, as a teenager, Gentileschi was sexually assaulted by another artist and friend of her neighbor, Agostino Tassi. Later on in her life, she returned to painting and married painter Pietro Stiattesi. They eventually separated, and Artemisia lived a life of self-reliance and independence. Her art emphasized classical and biblical themes, but also focused on stories, especially of women. She also used female characters as metaphors to convey themes like oppression, suffering, injustice, and triumphs of women. Gentileschi gained popularity soonafter, and became the first woman to be admitted

Considered one of the most important artists of the Baroque movement in Early Modern Europe, Artemisia Gentileschi, had to prove herself and break down the boundaries for a woman in a male dominated field. Artemisia was born in Rome on July 8, 1953 to Orazio and Prudentia Monotone Gentileschi, who died when the artist was only twelve years of age. Her upbringing was left to her father, who was also a well-known painter. He trained her since she was not permitted to learn in the studios of successful artists of the moment. Orazio introduced his daughter to the working artists of Rome including Caravaggio, whose tenebrism technique and chiaroscuro style had a great influence on her paintings.

Artemisia Gentileschi's Madonna and Child, was created during the Baroque Period, c. 1609 (Brash), when the Catholic Church was sponsoring the arts to return to traditions Protestantism had disregarded (Baroque Artists). Created in Rome, this painting shows the mother, Madonna, holding her child, the young

Artemisia Gentileschi’s Venus and Cupid is a painting of an angel caressing a woman resting on the bed. In actuality, the painting is about Venus, the Goddess of Love, who is asleep in a very luxurious and classical environment. While she is asleep, Cupid diligently wields a peacock-feathered fan to keep away pests, which makes the environment more safe and peaceful. Primarily strong contrasting lights and darkness display Gentileschi’s work, perhaps inspired by both her father and Caravaggio. Her paintings are all primarily bold compositions for example the