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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 .
The following is an incomplete list of works by Artemisia Gentileschi. Catalogue numbers abbreviated "WB" are taken from the 1999 publication by Raymond Ward Bissell, [1] and number abbreviated "MET" are from the 2001 publication by the Metropolitan Museum of Art. Other attributions are taken from Jesse Locker's The Language of Painting.
The artist, Gentileschi painted this portrait depicting herself as a female martyr when she was twenty-two. [9] Helen Clements describes Gentileschi’s painting as portraying herself in a gentle and more intimate manner. [9] Clements commented on the way Gentileschi looked in the painting mentioning that the women looks very soft. [9]
Artemisia Gentileschi, Portrait of a Lady, dressed in a gold embroidered costume, c.1620, Private Collection. Portrait of a Lady, dressed in a gold embroidered costume is a painting by the Italian baroque painter Artemisia Gentileschi. It is assumed to have been painted in the early 1620s, just after Artemisia had moved to Rome. [1]
However, Gentileschi was known for singing, not for playing the lute. [7] Gentileschi’s use of rosy cheeks and a low neckline outfit that highlights her breasts gives the painting a sexual connotation that the previous women did not depict, making this the first known portrait of a woman expressing her sexual appeal. [4]
Self-Portrait (Artemisia Gentileschi) Self-Portrait as a Female Martyr; Self-Portrait as a Lute Player; Self-Portrait as Saint Catherine of Alexandria; Self-Portrait as the Allegory of Painting; Susanna and the Elders (Artemisia Gentileschi, Brno) Susanna and the Elders (Artemisia Gentileschi, London) Susanna and the Elders (Artemisia ...
Susan Joyce Vreeland (January 20, 1946 – August 23, 2017) was an American author.Several of her books deal with the relationship between art and fiction. [1] The Passion of Artemisia is a fictionalized investigation of some aspects of the life of Artemisia Gentileschi, [2] while Girl in Hyacinth Blue centers round an imaginary painting by Vermeer.
It was painted around 1632, just after Artemisia had moved to Naples. It currently hangs in the Palazzo Blu, Pisa. [ 1 ] The painting has been interpreted in relationship to Gentileschi's own career and self-image - "by including her signature in Clio's open book, Artemisia was quite literally writing herself into history".