Artemisia Gentileschi the Renaissance Feminist Artist Manuel Hernandez Devry University Abstract Why exactly is Artemisia Gentileschi considered an early feminist? Doing a brief search and looking into her artwork, even for a brief amount of time and you quickly see why she was considered so. Her gender as well as the things she went through and experienced in her life heavily influenced Artemisia Gentileschi’s artwork. Some of the more famous and controversial paintings focus on females as
Artemisia Gentileschi is recognized as one of the most prominent and influential female artists of her age. Artemisia Gentileschi was born in 1593 in Rome, Italy; she was the daughter of a celebrated painter Orazio Gentileschi and Prudentia Montone and died in 1653 in Naples, Italy. She is considered one of the most influential female painters with a uniquely female perspective. She was a Baroque painter and the only female painter who was influenced by the works of Caravaggio- with whom she worked
to an exhibition in Milan titled: “Artemisia: storia di una passione” (“Artemisia: history of a passion”). The exhibition was sponsored by the Assessorato alla Cultura of the Comune of Milano and curated by Roberto Contini and Francesco Solinas, with the scenographic and theatrical work of Emma Dante. Artemisia Gentileschi (Rome 1593 - Naples 1652/53) was a Roman painter, daughter of the painter Orazio Gentileschi and Prudenza Montone (who died when Artemisia was twelve). First of six children
From Whitney Chadwick third edition of Women, Art, and Society, the piece of artwork that engaged me deeply from this book is the 17th Century Italian Baroque painting Judith Decapitating Holofernes c. 1618 by Italian artist Artemisia Gentileschi. This painting is oil on canvas painting in the style of classical Italian Baroque characteristics of chiaroscuro, dramatic realism, naturalistic, and rich vivid colors. What I see physically at first from the painting is at the center of the work a violent
Holofernes 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
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
femininity, modernity, psychoanalysis and representation.” (Boundless, 2015) She is known as a major influence in feminist theory, gender studies and feminist art history. Griselda Pollock’s approach to art history and criticism utilises the central tenets of Marxism critical approach to society and culture, extending the existing framework of historical materialism to compose new feminist analyses of sexuality and gender identity. Pollock embraces the Marxist assertion that society is structured by
Angeles and then her Master’s in 1964. From then on, she taught at various universities as an art educator for feminist art. She also has five honorary doctorates from different universities. She started out making minimalist artworks form 1963-1974. In Chicago’s minimalist art, there obvious signs of the triangle forms that she focuses on throughout The Dinner Party and a few other feminist works. The forms themselves are circular or octagonal but the perception the viewer sees is that of a triangle
Lane---Sofonisba Anguissola (Renaissance) and Artemisia Gentileschi(Baroque) The renaissance began in Italy from the 14th to the 16th century, and was followed by the baroque period which roughly was between 16th to 17th century, each revolutionized the period prior. This is perfectly represented by two very different and yet very similar artists: Sofonisba Anguissola and Artemisia Gentileschi. Though one more so paved-the-way for the other, there connection appears to have nearly materialized out
society through their education, practices, seclusion, beauty, and roles. In an examination of several positions, through the Exhortations to Women and to Others If They Please by Lucrezia Marinella and the letters of Laura Cereta, a Renaissance feminist, women can be seen as accepting of their position in society or rebelling against it. Their lives and prescriptive writings show how one can either follow the role given to them or exceed beyond it and become an exceptional woman. An understanding