Life, Tragedy, and Art: Artemisia Gentileschi Artemisia Gentileschi was born in Rome, Italy on July 8, 1593. Her parents were Orazio Gentileschi and Prudentia Montone. She was the couples only child. Her father was a notable painter and she Artemisia wanted to be just like him. She studied painting under the watchful eye of Orazio. Her father also enjoyed working with her and loved watching her bloom in her own artistic abilities. Artemisia became an Italian Baroque painter. The Baroque style was used to show motion to emphasize drama and tension.
Orazio trained his daughter and even introduced her Carravagio, whom helped develop her style by demonstrating light and shadow in her paintings. After years of studying with her father,
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She received the attention of Michelangelo the Younger. He is actually Michelangelo’s biological nephew. The Younger “favored her and paid her well for her work on the life of Michelangelo for the Casa Buonoratti” (arthistoryarchive.org). The Grand Duke Cosimo II of the Medici Family also supported her work and she even formed a deep friendship with the famed astronomer Galileo. The House of Medici was a powerful family in Florence. They were a very wealthy family. After more reading, it is suggested that the grand duchess of the Medici family did not like Artemisia. She was worried about status and reputation and Artemisia had neither of those. I have to wonder though, Artemisia promised to paint Hercules for the Duke and never followed through with her promise. Is this where the relationship was derailed? Either way, the family still supported the arts and they even backed Donatello and Ghiberti. With all of her connections in Florence and her career thriving, tragedy struck once again. “She ultimately was forced to flee Florence due to mounting debt and unfinished obligations” (thiswritelife.wordpress.com). Things were looking bleak for the artist at this point in her life. Struggle seemed to follow her like a black cloud. Judith Beheading Holofernes made me feel the emotion that Artemisia felt when thinking about Tassi. It was of a way for …show more content…
This painting made me cry. After knowing her story, this meaning of this painting is so apparent and distressing. The biblical story of Susanna says that two elders were infatuated with her beauty and cornered her in a garden one day. To save their skin, they lied in court and said that they had seen her lay with a man that was not her husband. They had been lying. Daniel convinced the court that the two men were bearing false witness and both men were put to death. The turmoil that this young woman went through is parallel to what happened to Artemisia when she was a young woman. You can see the pain and confusion on Susanna’s face and the condemning judgement that the two judges are casting upon her. Susanna is nude with a simple sheet draped over one leg and her breasts are exposed, it makes her appear vulnerable. I think she chose this biblical heroine for this painting because it helped depict the tragedy of her own life. She was only 17 years old when she painted
The painting caught my attention due to the message I received when I first laid eyes upon it. It illustrates a wise old man teaching an eager to learn young boy. I have been fortunate enough to have my very own replica of this painting in my bedroom and I have spent countless hours
Sofonisba Anguissola was born in 1532 in Cremona, Italy as the eldest of seven artistic children. She was the daughter of minor noblemen Amilcare Anguissola and during the time of her birth, women were only trained in needlework, religion, courtesy and refined living, but Sofonisba was taught painting and how to play piano as well. She was the first female painter famously known and was hired by King Philip II of Spain for fourteen years, which allowed her to get adequate resources needed for her paintings. (Wikipedia, 2015) Throughout these years, Sofonisba got married to Sicilian nobleman, Fabrizio di Monarda. In
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 (all males), at a very early age was initiated to painting by her father, a follower of Caravaggio.
Artemisia was born on July 8 of 1652 in Naples, Italy. She has been credited as one of the most famous female artists of the Baroque period. Her father, Orazio Gentileschi, helped her develop her skills as he was an artist as well. In her early life, she lost her mother at the age of twelve years of age, which may have led to her style of artwork. Another possible contributing factor is that she was raped by one of her father’s colleagues named Agastino Tassi. She married a Florence painter named Pietro Antonio di Vicenzo Stiattesi, and moved to Florence with him. Together, they had one female child. She befriended many artists, thinkers, and writers during her time, which included Galileo the astronomer. She was a female artist in a male dominated art world of her time, and succeeded at standing out.
Effect of Diets with Different Nutrition Levels on Oxygen Consumption Rate and Reproduction of Artemia Franciscana
The composition of this painting forces the eye to the woman, and specifically to her face. Although the white wedding dress is large and takes up most of the woman’s figure, the white contrasts with her face and dark hair, forcing the viewer to look more closely into the woman’s face. She smokes a cigarette and rests her chin on her hands. She does not appear to be a very young woman and her eyes are cast down and seem sad. In general, her face appears to show a sense of disillusionment with life and specifically with her own life. Although this is apparently her wedding day, she does not seem to be happy.
Perhaps this is a direct response to the eroticization of owning a painting produced by a woman; the representation’s realism prevents the presumably male audience from viewing her face in entirety. Her body is shown in action and foreshortened, removing any possibility for it to be compared to the perfectly proportioned female figures so often used to
At nineteen she married Charles-Guillaume Le Normant d'Etoiles. It was an arranged marriage, and did not last for very long, despite the fact that he adored her. She had two children with d'Etoiles, a boy who died in childbirth, and a daughter nicknamed 'fan fan'. She founded her own salon at her husband's estate, and was joined by many renowned intellectuals, such as Voltaire. She rose in society at an alarming rate, due to those she associated with, and her friends. After all, that is a fantastic strategy, to befriend the highest class and earn their acquaintances respect.
Artemisia Gentileschi (1593 – 1652), daughter of a well-known Roman artist, was one of the first women to become recognized in her time for her work.. She was noted for being a genius in the world of art. But because she was displaying a talent thought to be exclusively for men, she was frowned upon. However by the time she turned seventeen she had created one of her best works. One of her more famous paintings was her stunning interpretation of Susanna and the Elders. This was all because of her father. He was an artist himself and he had trained her and introduced her to working artists of Rome, including Michelangelo Merisi da Caravaggio. 1. In an era when women artists were limited to painting portraits, she was the first to paint major historical and religious scenes. After her death, people seemed to forget about her. Her works of art were often mistaken for those of her fathers. An art historian on Artemisia, Mary D. Garrard notes that Artemisia “has suffered a scholarly neglect that is unthinkable for an artist of her caliber.” Renewed and long overdue interest in Artemisia recently has helped to recognize her as a talented renaissance painter and one of the world’s greatest female artists. She played a very important role in the renaissance.
...retation of the painting some aspects were surprising to how dark and heavy hearted she could speak, she took an interesting perspective. However in her interpretative poem she found a perspective of the painting that connected with her. As she used every stroke of darkness painted into the canvas an opportunity to have it symbolize this darkness and evil that resides in the world. It told her story and her experience of a starry night. Similarly Van Gogh had used every stroke of light painted into the canvas to be a symbol of beauty, and a symbol of his fascination of the night sky and its illuminating lights. He uses swift movements of his brush to depict a sky that seem to be able to sweep the mind away from the frustrations of this world in to the dreamy night light. A single painting worth a million words tells many stories through every perspective.
Valentino was born in Castellaneta, Puglia, Italy in May 1895. His parents were Marie Gabrielle, and Giovanni Guglielmi di Valentina d’Antonguolla. He had an older brother named Alberto, a younger sister named Maria, and an older sister named Beatrice. During his childhood, Valentino was a troublemaker who did not do well in school. After earning a degree from an agricultural school, he moved to Paris. He eventually returned to Italy, but because he
Christina Rossetti was born in London on December 5, 1830 . She had two brothers and one sister, Dante Gabriel Rossetti , William Michael Rossetti and Maria Francesca Rossetti. Their father, Gabriele Rossetti, was an Italian poet and a political asylum seeker from Naples, and their mother, Frances Polidori, was the sister of Lord Byron's friend and physician, John William Polidori.
Botticelli's family, the Vespucci family, saw that Sandro had potential to become an amazing artist. They recommended him to the finest artists around for some teaching, but in 1460, at only 15 years old, Botticelli wanted to learn the art of a goldsmith as his older brother was very successful as a goldsmith and he wanted to be exactly like him. He was studying to be a goldsmith for a year or two when he saw a painting called, "Trinity Fresco" by Masaccio. He decided he wanted to paint just like him. He also met artists that had changed from being goldsmiths to artists, so he agreed with his family that he should be doing art. He then changed his professional plans and went to Fra Filippo Lippi in Prato, who was a professional painter, one of the most famous painters in Florence. After 3 years of hard work, Botticelli and his inspiring teacher worked together and in 1465, Botticelli started his first piece of work under the supervision of his teacher. In 1467, Botticelli's teacher, Fra Filippo Lippi, ended his course with Botticelli to go to Spoleto to decorate a chapel in the main Cathedral. Lippi's move inspired Botticelli to start his own workshop in his own house.
Maria Montessori was born on August 31st, 1870 in Chiaravalle, Italy to a Ministry of Finance worker and to the great nice of the Italian Geologist and Theorist Antonio Stoppani. While Maria was growing up Italy had strict conservative values
Rossetti shows us the woman being painted as many different things. Although she is just a painting, the woman symbolizes how the artist views women in real life: as objects. Irony is used when the woman is painted as “a queen”(5). She is put on a pedestal in a position of power, yet she is only described as being “in [an] opal or ruby dress”(5), cementing her role as an ornament. The ruby symbolizes passion and perhaps promiscuity. Opal is a white stone that reflects many colors. White symbolizes purity; while the different colors reflected symbolize how her meaning can change, and how the artist controls her identity and can make her fit any persona he desires. The woman is also depicted as a “nameless girl”(6), indicating her identity is not important to the artist. It also shows that he does not personally know the women he’s painting, but only their looks, affirming that he bases their value off of their appearances. Lastly, the artist portrays a woman as “a saint [and] an angel”(7) and compares her to the “moon”(11), an allusion to Artemis, the goddess of virginity. In this painting, she is established as a pure virgin, which was a requirement of the time period Rossetti lived in. However, because it is one of the fantasies the artist creates, and the poem antagonizes him, this line also expresses the idea that a woman’s purity should not define her. He makes the innocent virgin and the licentious queen the only ways women can be viewed. Yet, they are the same to him. Lacking depth, their physical description is the only thing giving them any meaning. Rossetti describing the portraits conveys the idea that no matter the position in society; or what their actual personalities are like, women are just blank canvases for men to project their fantasies onto. Uninterested in a real person, the artist worships the idea of a