Kaci contraro Period 4 5/5/16 Artemisia Gentileschi Artemisia Gentileschi was born in Rome on July 8th‚ 1593‚ and was thought to have died in 1653. Judith Slaying Holofernes is an Italian painting by Artemisia created in the baroque period‚ it was officially completed within 1614 to about 1620. She did it on an Oil Canvas. The dimensions of this Oil Canvas are 158.8 cm × 125.5 cm ((6’ 6" X 5’ 4") 78.33 in × 64.13 in). The location of this painting is in a museum called “National Museum of Capodimonte
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How did Bernini transform the new St. Peter’s from a High Renaissance building to a Baroque style building? Bernini built Baldacchino as the focal point for the huge interior of St. Peter’s right under the dome. He used bronze for the most part of the architecture which made it looked splendid and striking. Instead of mounting decorations between the columns like Renaissance architects and sculptors did‚ Bernini cast them on the columns. To make the entire architecture lively‚ he built some lovely
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It is interesting to note that at the time this was painted‚ Artemisia Gentileschi was just seventeen years old‚ and was enduring sexual harassment from the artist she was apprenticed to‚ a man named Agostino Tassi‚ who later raped her. These incidents gave Gentileschi incredible insight into her subject’s experience and thus she was able to create an interpretation that was uniquely perceptive and candid. Artemisia Gentileschi‚ however‚ was a woman‚ and the talent and creativity she possessed
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Holofernes inspired Gentileschi’s detailed painting. Carvaggio painted his rendition of Judith Beheading Holofernes two decades prior to Gentileschi’s. His work was on permanent display in Palazzo Barberini in Rome‚ Italy; it is highly likely that Artemisia Gentileschi was inspired to present her own rendition of Judith that fit her feminist ideals in response to Carvaggio’s display of this biblical heroine. The scene of Judith slaying Holofernes stands as a biblical moment of triumph of virtue over tyranny
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Helene Fourment in a Fur Coat……………………………………11-12 Conclusion……………………………………………………………………………...13 Bibliography…………………………………………………………………………….14 List of Illustrations Peter Paul Rubens Susanna and the Elders (1636-40)……………………………..7 Artemisa Gentileschi Susanna and the Elders (1610)……………………………...9 Tintoretto Susanna and the Elders (1555-56)………………………………………10 Rubens Helene Fourment in a Fur Coat (1577-1640)………………………………12 Introduction Women have often been observed in society as being different
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The seventeenth century witnessed of a great reformation in the Catholic Church as a result of the increase in the followers of the Protestant Reformation. All artistic manifestations were influenced by these changes and the artists of the time made echo of them. In this period we can still pensive how most of the art is religious related‚ especially paintings. The mannerism was a tendency characterized by the special complexity‚ artificiality and a new psychology impressed in the painting. Italian
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Present (4th ed.). New York: McGraw-Hill. National Gallery of Art (2006). Rembrandt ’s Late Religious Portraits [On Line Tour]. Retrieved April 23‚ 2006‚ from http://www.nga.gov/exhibitions/2005/rembrandt/flash/index.shtm The Life and Art of Artemisia Gentileschi (2005). Judith and Her Maidservant with the Head of Holofernes . Retrieved April 24‚ 2006‚ from http://www.artemisia-gentileschi.com/judith5.html Wikimedia Foundation‚ Inc. (2006). Baroque. Retrieved April 23‚ 2006‚ from http://en.wikipedia
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John Ruskin said‚ “I always said that no woman could paint.” This quote from John Ruskin is nonsense. If women can give birth and raise their children to live their own lives‚ women could do everything anyone else can. In this era‚ some of the most powerful positions in governments are being held by women. Maybe I have an untrained eye‚ but if no description for a work of an artist is provided‚ I would not be able to tell if a piece of art was created by a man or a woman. Art or all entertainment
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Renaissance. 22-4. Gianlorenzo Bernini. David. 1623. Baroque. Italy. 22-1. Gianlorenzo Bernini. St. Teresa of Ávila in Ecstasy. 1645–1652. Baroque. Italy. 22-B. Caravaggio. The Calling of St. Matthew. 1599–1600. Baroque. Italy. 22-14. Artemisia Gentileschi. Self-Portrait as the Allegory of Painting. 1630. Baroque. Italy. 22-23. Diego Velázquez. Las Meninas (The Maids of Honor). 1656. Spain. Baroque. 22-28. Peter Paul Rubens. The Raising of the Cross. 1610–1611. Flanders. Baroque. 22-38. Rembrandt
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Artemisia was also one of the few female painters in the Baroque Period. Her work was extreme‚ and she used her anger and frustration from personal experiences to guide her hand. Gentileschi was raped and was mocked for thinking she could report it to seek justice. The lack of authority supporting her claim led to the rapist never being charged
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