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Artemisia I of Caria (Ancient Greek: Ἀρτεμισία; fl. 480 BC) was a queen of the ancient Greek city-state of Halicarnassus, which is now in Bodrum, present-day Turkey. She was also queen of the nearby islands of Kos , Nisyros and Kalymnos , [ 2 ] within the Achaemenid satrapy of Caria , in about 480 BC. [ 2 ]
Artemisia II of Caria (Greek: Ἀρτεμισία; died 351 BC [1]) was a naval strategist, commander and the sister (and later spouse) and the successor of Mausolus, ruler of Caria. Mausolus was a satrap of the Achaemenid Empire , yet enjoyed the status of king or dynast of the Hecatomnid dynasty .
Artemisia Lomi or Artemisia Gentileschi (US: / ˌ dʒ ɛ n t i ˈ l ɛ s k i /; [1] [2] Italian: [arteˈmiːzja dʒentiˈleski]; 8 July 1593 – c. 1656) was an Italian Baroque painter. Gentileschi is considered among the most accomplished 17th-century artists, initially working in the style of Caravaggio. She was producing professional work by ...
Self-Portrait as a Lute Player is one of many self-portrait paintings made by the Italian baroque artist Artemisia Gentileschi. It was created between 1615 and 1617 for the Medici family in Florence. [1] Today, it hangs in the Wadsworth Atheneum Museum of Art, Hartford, Connecticut, US.
Artemisia Gentileschi painted self-portraits as several different people in many of her artworks, such as the Self-Portrait as the Allegory of Painting, Self-Portrait as a Lute Player, and Self-Portrait as Saint Catherine of Alexandria yet this was the only Gentileschi did where she depicted herself as the saint. [1]
Artemisia Gentileschi was around twenty years of age when she painted Judith Slaying Holofernes. Previously, Gentileschi had also completed Susanna and the Elders and Madonna and Child. These artworks already give an indication of Gentileschi's skill in representing body movement and facial expressions to express emotions. X-rays undertaken on ...
Self-Portrait as the Allegory of Painting, also known as Autoritratto in veste di Pittura or simply La Pittura, was painted by the Italian Baroque artist Artemisia Gentileschi. The oil-on-canvas painting measures 98.6 by 75.2 centimetres (38.8 in × 29.6 in) and was probably produced during Gentileschi's stay in England between 1638 and 1639.
Artemisia's pose has led art historians to see the painting as a direct challenge to a viewer. Mary Garrard has interpreted this in the context of Artemisia's gender, i.e. a challenge to male artists of the time. This contention is made based on the shape of the painting hand, as this gesture in the 17th century represented a "challenge ...