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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 .
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 ...
Judith and her Maidservant with the Head of Holofernes is a painting by the Italian artist Artemisia Gentileschi, created in 1639-1640.It was one of many paintings by Gentileschi that treats the theme of Judith, who beheads the Assyrian general Holofernes, who was planning to destroy Judith's home city of Bethulia.
As artists, Gentileschi and Wiley challenge the white male-dominated fields and iconic images of their generations.
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 ...
It was painted during Gentileschi's time in Florence, [3] and is similar to her Saint Catherine of Alexandria (c. 1619), now in the Uffizi Gallery. It is one of several paintings of female martyrs that Gentileschi made after her famous 1612 rape trial, in which she (unlike the accused) was subject to torture to test the veracity of her ...
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.
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