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Likeness and Presence: A History of the Image before the Era of Art. Edmund Jephcott. University of Chicago Press. ISBN 0-226-04215-4. Mark Getlein, Living With Art, 8th edition. Gombrich, E.H., The Story of Art, Phaidon, 1995. ISBN 0-7148-3355-X; Christine Buci-Glucksmann, Baroque Reason: The Aesthetics of Modernity, Sage, 1994; Michael Kitson ...
By the mid-19th century, art critics and historians had adopted the term baroque as a way to ridicule post-Renaissance art. This was the sense of the word as used in 1855 by the leading art historian Jacob Burckhardt , who wrote that baroque artists "despised and abused detail" because they lacked "respect for tradition".
Artemisia Gentileschi, Judith Slaying Holofernes, 1614–20, Oil on canvas 199 x 162 cm, Uffizi, Florence. Italian Baroque art was a very prominent part of the Baroque art in painting, sculpture and other media, made in a period extending from the end of the sixteenth to the mid eighteenth centuries. [1]
Judith beheading Holofernes was a very popular story amongst Baroque artists. Artemisia Gentileschi's contemporary Johann Liss stayed abreast with the Baroque style by including macabre imagery in his painting, Judith in the Tent of Holofernes. The painting shows the headless body of Holofernes slumping over.
The first full, factual account of Artemisia's life, The Image of the Female Hero in Italian Baroque Art, was published in 1989 by Mary Garrard, a feminist art historian. She then published a second, smaller book entitled Artemisia Gentileschi around 1622: The Shaping and Reshaping of an Artistic Identity in 2001 that explored the artist's work ...
Fans of art and history will love this exhibition! “Splendor & Passion: Baroque Spain and Its Empire:” On display now through March 2025. General admission is $16 for adults, $12 for seniors ...