#artemisiagentileschi

[666candies]

“Moonlit Night”, (1864),

By Ferdinand Knab

[sityvaeuli]

,,ძნელი არის მარტოობა სულისა:

მას ელტვიან სიამენი სოფლისა,

მარად ახსოვს მას დაკარგვა სწორისა,

ოხვრა არის შვება უბედურისა!"

-ნიკოლოზ ბარათაშვილი

🖌️ Artemisia Gentileschi - Mary Magdalene as Melancholy (1622-1625)

[arthistoriansdiary]

Judith Slaying Holofernes

Artemisia Gentileschi, Judith Beheading Holofernes (1620). Oil on canvas, 146.5 x 108 cm. Museo Capodimonte, Naples.

Artemisia Gentileschi's Judith Slaying Holofernes stands as one of the most vivid and dramatic works in the realm of Baroque painting, encapsulating themes of courage, justice, and female empowerment. This post delves into the artistic and symbolic nuances of Gentileschi’s iconic painting, offering a deep dive into its historical context, visual analysis, and enduring impact.

The Power and Fury: A Closer Look at Gentileschi's Masterpiece

Artemisia Gentileschi, born in 1593 in Rome, was one of the first women to achieve recognition in the male-dominated world of post-Renaissance art. Judith Slaying Holofernes is often viewed through the lens of Gentileschi's personal history, particularly her experience with sexual assault and the subsequent highly publicized trial. The painting, created in the early 1620s, is interpreted by many as a form of cathartic expression, showcasing her mastery over her traumas and her assailants.

The Art of Contrast: Tenebrism in Judith Slaying Holofernes

The painting depicts the biblical story of Judith, a widow who saves her village from the Assyrian general Holofernes by seducing and then beheading him. Gentileschi’s rendition is remarkable for its intense realism and emotional power. Unlike other contemporary versions of the subject, Gentileschi’s Judith appears strong and resolute in her task, capturing a moment of intense physical and psychological action.

Defiance in the Details: Symbolism in Gentileschi's Narrative

In Judith Slaying Holofernes, Gentileschi aligns herself with Judith, symbolically enacting a narrative of female agency and vengeance. This work is often read as a proto-feminist statement, with Judith’s act representing a broader defiance against patriarchal oppression. The painting challenges traditional gender roles and reflects Gentileschi's own struggles against the societal limitations imposed on women of her time.

Artemisia Gentileschi's Legacy: Reclaiming Space and Narrative

Artemisia Gentileschi's work has experienced a resurgence of interest in recent years, celebrated for its bold thematic content and its reflection of the artist's personal narrative of overcoming adversity. Judith Slaying Holofernes not only contributes to the historical narrative of art but continues to inspire discussions on gender, power, and resilience.

A Canvas of Courage: The Timeless Message of Judith Slaying Holofernes

Judith Slaying Holofernes by Artemisia Gentileschi is not just a depiction of a biblical heroine, but a profound commentary on justice, courage, and the capabilities of women both in art and in life. It remains a powerful image of defiance and autonomy, resonating with audiences centuries after it was painted.

Reflect and Engage

How do you think Judith Slaying Holofernes challenges or reinforces the perceptions of women both in the era it was painted and today? Does the painting's violent imagery detract from or enhance its message of female empowerment?

[palianshow2]

2022 REPOST: A special treat for the #artgeeks #artnerds or simply #artherstory Lovers as myself. #PalianShow

Art by Women - Women in Arts @abwwia

Doing my #ARTHerstory research on #AngelikaKauffmann I came across few video lectures on YouTube I would like to recommend to you today.

Here are three videos that I was watching,listening to and learning from. Abd now I am happy to recommend them to you. Here is todays #watchlater list:

1. Art 318 - Angelika Kauffmann by Molly Enholm: https://youtu.be/UMnoBTliKXk

The early​ career of Angelika Kauffmann, focusing on her years in England through 1781.

2. Angelica Kauffman: An #EnterprisingArtist in 18th-Century Britain: https://youtu.be/wQ26qBi_5Cg

Virtual Mary Strauss "Women in the Arts" Lecture with #WendyWassyngRoworth, Professor Emerita of Art History, University of Rhode Island

And last but not least!

3. Two Celebrated Female Painters: #ArtemisiaGentileschi & Angelica Kauffman https://youtu.be/uTwvgvjKyHg via #LondonArtWeek

As always I am inviting you to visit my blog where I introduce an Artist: share Her bio and selection of artworks:

Angelika Kauffmann, 1741-1807, Swiss https://palianshow.wordpress.com/2022/01/12/angelika-kauffmann-1741-1807/

Artemisia Gentileschi (Italy, 1593-1656)

https://palianshow.wordpress.com/2022/04/18/artemisia-gentileschi/

HAVE a great day, keep creating!

best, @poli_pal Poli Palian

__ #SwissArtist #SwissFemaleArtist #womensart #artbywomen #Neoclassicalart #artHerstory #arthistory #Herstory #greatwomenartists #greatwomenartists

[pettirosso1959]

A proposito della recente notizia su Artemisia Gentileschi, è inutile che voi giornalistoidi cerchiate di creare nomi femminili per propagandare la "cultura boldriniana" e tentare l'impostazione di una neolingua... perché UFFICIALMENTE la parola "pittoressa" NON ESISTE, e a dirlo è nientepopodimeno l'Accademia della Crusca.

Qui sotto, infatti, ho riportato un paio di screenshot dal sito della Crusca: quello a sinistra spiega che il femminile di "pittore" è "pittrice", mentre quello a destra è il risultato di una ricerca con la parola "pittoressa" il cui risultato dimostra l'inesistenza della parola. Al massimo esiste nell'italiano parlato, ma ha una connotazione negativa e per questo motivo le buone intenzioni dei pennivendoli potrebbero invece, sebbene non intenzionalmente, sfociare addirittura nel sessismo.

Qui nessuno sta dicendo che bisogna declinare tutto al maschile, ma semplicemente che i cosiddetti "professionisti dell'informazione" (che però si dimostrano sempre più tutt'altro che tali) dovrebbero conoscere un minimo di ortografia. La lingua italiana è già stata inventata... non serve inventarne una nuova.

Tommaso Zarat.

#pittoressa #ilmessaggero #artemisiagentileschi

[marciamattos]

'Judith e sua serva' de Artemísia Gentileschi (1593-1656)

A cabeça na cesta é baseada em Agostino Tassi, o homem que abusou da artista quando era adolescente.

Artemisia Gentileschi, Judith and her Maidservant (1613–14)

"The head in the basket is modelled after Agostino Tassi, the man who abused her as a teenager. (https://t.co/IK549yKOd8)

#womensart #artemisiagentileschi #mulheresnaluta

https://t.co/E9WQ3JEZl8

via @womensart1 no Twitter

[abwwia]

Artist Artemisia Gentileschi

Judith and Maidservant with Head of Holofernes (between circa 1623 & 1625)

oil on canvas

184 cm x 141.6 cm (72.4 in x 55.7 in)

https://palianshow.wordpress.com/2022/04/18/artemisia-gentileschi-italy-1593-1656/

In an era when women had few opportunities to pursue artistic training or work as professional artists, Gentileschi was the first woman to become a member of the Accademia di Arte del Disegno in Florence and she had an international clientele.

Many of Gentileschi's paintings feature women from myths, allegories, and the Bible, including victims, suicides, and warriors.

Some of her best known subjects are Susanna and the Elders (particularly the 1610 version in Pommersfelden), Judith Slaying Holofernes (her 1614–1620 version is in the Uffizi gallery), and Judith and Her Maidservant (her version of 1625 is in the Detroit Institute of Arts).

Artemisia Lomi or Artemisia Gentileschi (US: /ˌdʒɛntiˈlɛski/, Italian: [arteˈmiːzja dʒentiˈleski]; 8 July 1593 – c. 1656) was an Italian Baroque painter. Gentileschi is considered among the most accomplished seventeenth-century artists, initially working in the style of Caravaggio. She was producing professional work by the age of fifteen.

about the artwork: Judith and her servant pause, seeming to hear a noise outside Holofernes’ tent. The shadowy interior is theatrically illuminated by a single candle. Judith’s hand shields her face from the glow, drawing attention to Holofernes’ discarded iron gauntlet. The viewer’s eye travels to the object in the maidservant’s hands: Holofernes’ severed head.

source: Wikipedia

#ArtemisiaLomi #ArtemisiaGentileschi #artherstory #womensart #greatfemaleartists #PalianShow

[jburunet]

Judith and Her Maidservant

[artemisia-gentileschi-art]

Sleeping Venus, 1630, Artemisia Gentileschi

https://www.wikiart.org/en/artemisia-gentileschi/sleeping-venus-1630

[666candies]

“Galatée”, (1847) By Charles Jalaber

[mirography]

Judith Beheading Holofernes, Gentileschi vs. Caravaggio

the drama resides solely in the tenebrism of Caravaggio's rendition, with his figures appearing too relaxed for such an intimate crime. On the other hand, we get total fierceness in Gentileschi's scene (e.g., the women's active muscles, facial expressions, & positions), making it more dire, more savage. Which one are you more drawn to?

[toosvanholstein]

Artemisia Gentileschi, de PowerVrouw van de Italiaanse Barok

Artemisia, de PowerVrouw van de Italiaanse Barok. Een Dijk van een Wijf met een turbulent leven dat een prachtig oeuvre heeft nagelaten. Toos van Holstein was er voor in Genua. Kijk en beleef het mee in deze aflevering van TOOS&ART. #expo#kunst#art

En toen was daar Caravaggio, Michelangelo Merisi da Caravaggio (1571-1610). Het behoorlijk opvliegende schildergenie dat rond 1600 menig opstootje in Rome veroorzaakte, maar daarbij ook de kunstwereld op stelten zette.  Door een nieuwe, succesvolle schilderstijl te ontwikkelen. Nu het caravaggisme geheten. Caravaggio, Salomé met het hoofd van Johannes de Doper (1610) Gevolg: haat en nijd in dat…

[met-european-paintings]

Esther before Ahasuerus, Artemisia Gentileschi, European Paintings

Gift of Elinor Dorrance Ingersoll, 1969 Size: 82 in. × 8 ft. 11 3/4 in. (208.3 × 273.7 cm) Medium: Oil on canvas

https://www.metmuseum.org/art/collection/search/436453

[cocobean920]

Artemisia Gentileschi’s iconic painting

                                        * Judith Slaying Holofernes *

 -  this extraordinary painting depicts the Story of Judith

 - for more info about the painting I recommend this        article: https://smarthistory.org/gentileschi-judith-slaying-holofernes/ 

[soniaaristo]

Posted @withregram • @artoutlaws Rembrandt van Rijn (1606 - 1669): Philosopher in Meditation, 1632, oil on oak panel, 28 x 34 cm, Musée du Louvre, Paris . . “Philosopher in Meditation” by Rembrandt depicts three figures in a partially vaulted interior that is dominated by a wooden spiral staircase. The architecture includes stone, brick and wood, with arched elements (window, vault, doors) that create an impression of monumentality. The most conspicuous figure is an old man seated at a table in front of a window, his head bowed and his hands folded in his lap. An old woman on the right is tending a fire in an open hearth. There is also a third figure of a woman standing in the stairs facing the viewer, but she is virtually invisible in the painting’s dark hue created by the aging of the varnish. While the traditional title, 'Philosopher in Meditation' has to a large extent been responsible for the painting's popularity, it is iconographically untenable. The painting shows none of the conspicuous attributes of scholarship or philosophy - books, globe, scientific instruments, etc. - and the presence of at least one other figure involved in domestic tasks does not fit in with the solitude associated with study and meditation. A plausible interpretation of the scene is Tobit and Anna waiting for the return of their only son, Tobias, a story derived from the Book of Tobit, one of Rembrandt's favorite Old Testament sources.. This is supported by an 18th-century source identifying a Rembrandt painting of exactly the same format representing a "Composition with Tobit and a winding stair." Rembrandt had already painted this scene in another version in 1630. . . . . #rembrandtvanrijn #renemagritte #johnconstable #johnatkinsongrimshaw #edvardmunch #paulklee #henrirousseau #giorgione #jacqueslouisdavid #pietmondrian #caspardavidfriedrich #camillepissarro #gustavecourbet #theodoregericault #marcelduchamp #pieterbruegel #artemisiagentileschi #titian #hieronymusbosch #wassilykandinsky #diegorivera #grantwood #elgreco #markrothko #janvaneyck #georgiaokeeffe #renemagritte #franciscogoya #georgesseurat #diegovelazquez #edwardhopper (at The Foreign Correspondents' Club, Hong Kong) https://www.instagram.com/p/CQEC--eD3P6/?utm_medium=tumblr