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Painters Artemisia Gentileschi and Virginia Vezzi, by Simon Vouet, Virginia's husband and Artemisia's acquaintance For a woman at the beginning of the seventeenth century, Artemisia being a painter represented an uncommon and difficult choice, but not an exceptional one.
Lucretia (Artemisia Gentileschi, Milan) Lucretia (Artemisia Gentileschi, Potsdam) L. Lucretia (Veronese) Lucretia and her Husband Lucius Tarquinius Collatinus; P.
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 ...
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[9] The Penitent Magdalene was signed as “Artemisia Lomi,” rather than "Artemisia Gentileschi" because she was in Florence at the time. [9] She may have chosen to use the name Lomi over her actual last name, Gentileschi, and over her husband's last name, Stiattesi, because Lomi was the last name of Aurelio Lomi, an artist who had more name ...
Gentileschi was one of many artists who used Judith as a prominent and recurring subject throughout the Baroque period. In fact, Orazio Gentileschi, Artemisia Gentileschi's father, painted Judith and Her Maidservant with the Head of Holofernes c. 1610. Both artists assign the scene with a sense of urgency by choosing moments within the story ...
Artemisia Gentileschi’s painting skills quickly surpass her father’s, but society dictates that as a woman, she must stay home and protect her virtue. Author Elizabeth Fremantle deftly paints ...
The 2001 exhibition catalogue on Artemisia Gentileschi and her father Orazio remarked that "the painting is generally recognized as Artemisia's finest work". [1] Others have concurred, and the art historian Letizia Treves concluded that, with this painting, "Artemisia rightly takes her place among the leading artists of the Italian Baroque." [4]