Artemisia Gentileschi's Childhood

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

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.

Similarly, the image of Madonna Enthroned was painted by Cimabue in Italy during the 13th Century, an interesting period of the country’s religious and art history. It was during the 13th Century that Italy was on the brink of a great revival known as the Renaissance. Cimabue’s work represents the best of the Byzantine Tradition. Cimabue is also the well-known teacher of Giotto, one of the leading artists of the Italian Renaissance. http://en.wikipedia.org/wiki/Cimabue

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,

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 the painting, ‘Virgin and Child’, by Rogier van der Weyden, it can be observed that the artist chose to use the medium of oil on wood. Despite the fact that Rogier van der Weyden created this painting in the Netherlands and was born in Tournai, Belgium, their primary influence appeared to stem from the Italian Renaissance, which had begun to use the technique of oil paintings with increasing frequency by turn of the 15th century. The subject of the painting itself, Madonna and her virgin child, were a common theme in the Renaissance, where religious subjects and topics were the primary choice for any prominent artist during this historical artistic period.

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 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

This period housed many depictions of the Virgin Mary, including Cimabue’s Enthroned Madonna and Child. Mary was seen as the perfect example of feminine virtue, showing chastity, piety, humility, and maternity. Images of the Madonna, or Mary, whether sculpture or painting, encouraged women to live up to her. Mary wasn’t the only woman that was looked up to in Renaissance art. Women could be portrayed as witches, saints, temptresses, or members of the working class, and their image would still be an encouragement to dress and behave properly. (Jacobs)

     The style and the form of these two paintings reflect the development of the artistic techniques during the Italian Renaissance. While both reflect a Biblical theme with a central focal point of the Madonna and Child, “Madonna Enthroned” has a key image that is best viewed from a central position and “Madonna and Child…” has a greater degree of importance over the majority of the surface of the canvas. In “Madonna and Child…” the viewer does not perceive that an image is being forced upon them as is found in the work by Giotto. A use of light and space is also key to preventing the Puligo piece from being “forced”, where the organization of distance visibly removes the viewer from “Madonna Enthroned” while drawing the viewer into the painting in “Madonna and Child…”. Color also serves a similar purpose, where Giotto’s work is monochromatic but ocher while Puligo’s work carries a greater expression through the detail involved.

In this artwork attributed to Luca della Robbia made in 1460-70, Virgin and Child with lilies depicts Mary as the mother of God, instead of the queen in heaven, and emphasized the maternal

In this essay, I will discuss the startling differences between two depictions of the story of Judith and Holofernes. “Judith with the Head of Holofernes”, 1495, created by Andrea Mantegna, is a small-scale painting that was completed during the Renaissance. The second is a Baroque painting, “Judith Slaying Holofernes”, c.1620 by Artemisia Gentileschi and is on a larger scale than the version created by Mantegna. Both artworks take inspiration from the religious story that appears in the Catholic editions of the Bible. The story is about a young widowed Jewish woman, by the name of Judith, who murdered an enemy army general, Holofernes, to spare her people from death. I will compare and contrast how the scene has been depicted in rather different ways by each of the artists and the influencing factors that contributed to the overall outcome of both works. I will also be discussing how form and naturalism are portrayed between the two paintings, use of colour, symbolism and religion, as well as the Renaissance and Baroque eras.

Portraits of the Madonna and Child depicting Mary holding the infant Christ provide a recurrent image in art throughout the ages. In prevalent portrayals over the span of centuries, artists reflect a wide diversity in their representations of the iconic duo. In particular, two works found in the National Gallery of Ireland in the early Italian Renaissance gallery, The Virgin and Child, Saint John the Baptist and Prophets by an unknown artist (1325-1450) and The Virgin and Child by Paolo Uccello (1435-1440), highlight the transition between Byzantine and early Renaissance paintings of the Madonna and Child, particularly in relation to subject matter, composition, material, style and meaning. Although each of these paintings of the Madonna and Child depicts the same Christian iconography of Mary and Jesus, their differences in composition and style influence their meaning, with each painting reflecting the individual artist who painted it and the different time period during which it was created.

Leonardo Da vinci painted the “Mona Lisa” in 1503. The artist portrays a young woman, which acquires the concept of feminine youth and more essentially the concept of elegance. In relation to Agnolo firenzuola’s novel “On The Beauty Of Women” , the portrait attributes to major physical characteristics in which is considered to be genuine beauty by the modern man. Seeing the female portraiture of the italian renaissance, Firenzuola implies a specific interpretation by analyzing the modern woman. Through the famous paintings illustrated by Leonardo da Vinci, the Mona Lisa specifically supports the arguments and claims made by the poet’s correspondence to the beauty of women. Along with Da Vinci’s sticking features, the artist paints Firenzuola’s ideal beauty in comparability to the appearance of definitive grace. With his analyzations being extremely aesthetic, Firenzuolo activates criticizing aspects of the proportions of the figure, the placement of the figure’s position and the importance of the half length portrait of the feminine nature in relation to the portraiture of Mona Lisa.