My Native Costume By Gentileschi

Names and nationalities play a large role throughout your life. Esperanza and Maria are examples of this, through the excerpt and poem it is possible to tell that they feel discriminated because of their nationalities. The idea comes from how they react and our treated compared to other students.

Judith Cutting Off the Head of Holofernes (Figure 1), ca. 1640,1 is consisting of a well-dressed female decapitating a middle-age man in his bed with the aid of an old woman. The elegantly dressed female using a sword to behead the man is named Judith. The male figure in the painting is

Many Minorities have been faced with constant stereotypes throughout their lives. Not only has this always been an issue for an extreme amount of time, but it has also negatively affected many people and how they live their lives. Judith Ortiz Cofer beautifully encompasses how Latin Women experience these stereotypes in an informative way by using specific rhetorical devices. However, her main purpose is to expel the negative experiences that she has with stereotyping, so all can understand the impact of it. Some of the rhetorical devices Cofer uses in her essay are ethos, pathos, and anecdotal evidence.

I'm honored to be selected as the person to choose a speech to honor social justice advocates. I believe that the article entitled “The Myth of the Latin Women: I Just met a girl named Maria” by Judith Cofer, is the best candidate for this speech. In this article, Ortiz claims that she was one of the fortunate ones because of her education and proficiency in the English language, compared to her “ Compañeras” that never even had the opportunity to get an education. Regardless of her opportunities she was still labeled.The purpose of this article is to inform about her upbringing being a Latina. Ortiz’s tone thought the article is irritated. She portrays herself as irritated throughout the article to ensure that the public, her audience, understands that words do hurt and stereotypes aren’t okay. Ortiz uses understatements and logos throughout this article.

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.

Traditions and old teachings are essential to Native American culture; however growing up in the modern west creates a distance and ignorance about one’s identity. In the beginning, the narrator is in the hospital while as his father lies on his death bed, when he than encounters fellow Native Americans. One of these men talks about an elderly Indian Scholar who paradoxically discussed identity, “She had taken nostalgia as her false idol-her thin blanket-and it was murdering her” (6). The nostalgia represents the old Native American ways. The woman can’t seem to let go of the past, which in turn creates confusion for the man to why she can’t let it go because she was lecturing “…separate indigenous literary identity which was ironic considering that she was speaking English in a room full of white professors”(6). The man’s ignorance with the elderly woman’s message creates a further cultural identity struggle. Once more in the hospital, the narrator talks to another Native American man who similarly feels a divide with his culture. “The Indian world is filled with charlatan, men and women who pretend…”

 It seemed as if the court almost condoned his actions and felt little pity for Artemisia.  Her paintings, at this point in her life, become drastically different.  In about 1612, she paints the first of five works of Judith and Holoferness.  The gory scene shows Holoferness, an Assyrian general being beheaded by Judith, a Jewish widow.  The scene shows ample amount of blood, however, it does not feel like a room of murder.  The killing of Holoferness by Judith is done in order to protect her homeland and life.  Also, she prays to god in order to give her the strength to do the killing.  Therefore, she felt it was justifiable.  It is a rare message for the early 1600's in that it is the woman avenging a man.  The powerful scene  of   It seems that Artemisia paints these works in order to avenge her own suffering from Tossi as well as the justice system.  By depicting such a strong and powerful woman, Artemisia is, in a sense, creating a world which she believes in.  In this world, women can speak up and women are heard.  Women are just as capable of murder, leadership, and power as any man.  Artemisia paints four more scenes of Judith and Holoferness all varying slightly.  However, her overall theme and meaning of the work is consistent.  Simply put, Judith is a woman to be looked at and respected for being a strong willed woman who stands up for what she

Her parents, first-generation immigrants from Puerto Rico, try to guide her and give her advice, but ultimately the difference in cultures could not be reconciled. What was acceptable and expected in Puerto Rico was not the same as in America, and it showed. Cofer’s mother, when giving Cofer clothing advice, did not realize how different American girls dressed compared to the Puerto Rican girls. The bright lipstick and more revealing clothes that Cofer was encouraged to wear on a day to day basis were not commonplace for American girls. Cofer also did not dress correctly when it came to formal events. Often not knowing what to wear, she would mix and match pieces of clothing and accessories until she found something she thought looked presentable. However, this still was not right. In fact, a friend of hers pointed out that you could always tell Puerto Rican girls apart from the rest of a group because they tended to “wear everything at once.”

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.

Artemisia Gentileschi was a fame painter and was born on July 8, 1593 in Rome Italy. Florence was were she lived for many years. In 1630, she moved to Naples. With her early life history, she was one of the greatest female painters which her painting was focused on female protagonist. Her father helped her to develop her artistic skills. She lost her mother at the age of 12 years. She went through a lot of difficulties and struggles but with the help of the father, she made it through successful. Her union gave her the chance to prosper as an artist.

In Artemisia Gentileschi’s Judith and Maidservant with the Head of Holofernes Judith is depicted with her maidservant after the head of Assyrian general Holofernes has been chopped off. The Assyrian Army was to beseech Judith’s town Bethulia. Judith is a jewish widow, who was invited to have dinner with Holofernes. After a night of drinking she attempts to seduce him in order to chop his head off, and save her people. This is the second image in a series of three Gentileschi produces, here she has succeeded in her mission, and is attempting to get away.

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.

The story behind this painting is a Biblical tale about a strong heroine named Judith, who was known for her bravery and resistance against the Assyrian troops that come to assume control over her people. In this story, Judith uses her wit and seduction to ease her way into the Assyrian troops' camp and continue with a genius plan to execute the Assyrian General, Holofernes. She seduces him, and once he is drunk, beheads him in his own tent, with his own soldiers all around him oblivious (Branch). Judith was able to defeat the enemy and resist what could have been the end of many Israelites' lives. Cranach's choice suggested a political resistance that required a bravery similar to that of Judith's. Small details in the painting such as the bodice of the dress and Judith's jewelry show Cranach's love for a decorative surface, as well as the

Lucretia is about to kill herself to spare her family the dishonor of her rape. Artemisia portrays Lucretia as a common woman rather than an idealized figure from classical antiquity. Lucretia’s physical flaws and emotional vulnerability are apparent. The influence of Caravaggio is now obvious in Artemisia‘s work through the close-focused composition of the singular figure, Lucretia, emerging from a dark background, harshly illuminated in typical tenebrist manner that creates a dramatic impact as Artemisia halts Lucretia’s hand in action grasping the dagger, blade upward and not aimed directly at her breast, while her other hand clutches her breast in a moment of conflict as she struggles for the courage to complete the act (Garrard, Image 115). Also, as typical of Caravaggio, Artemisia portrays a single moment of narrative with a heightened sense of suspense and drama (Mann, 100).