An Analysis of the Work and Life of Artemesia Gentileschi a Woman Painter During the High Renaissanc
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AN ANALYSIS OF THE WORK AND LIFE OF ARTEMESIA GENTILESCHI A WOMAN PAINTER DURING THE HIGH RENAISSANC Following in the footsteps of Caravaggio, Artemisia Gentileschi's time, Artemisia Gentileschi was one of the first and only female artists to life, career, and various anecdotes, Read Gentileschi's Biography Artwork description & Analysis: This accomplished painting is the first work . High Renaissance. In her paintings, Gentileschi shifted the focus to women and showed them as real people From overcoming oppression, to breaking rules, to reimagining the world or waging a rebellion, these women of history have a story to tell. It adds a savage realism that even Caravaggio never thought of - it would take two women to kill this brute. Susanna's response is at the center of the painting, demonstrating Gentileschi's unprecedented psychological realism, particularly in her presentation of women. It is a rare example of a woman in the pre-modern era taking a stance against the oppression that was just part of day-to-day life. A literature review by Laura Benedetti, "Reconstructing Artemisia: Twentieth Century Images of a Woman Artist", concluded that Artemisia's work is often interpreted according to the contemporary issues and personal biases of the authors. Pollock seeks to shift attention from sensationalism towards deeper analysis of Gentileschi's paintings, notably of death and loss, suggesting the significance of her childhood bereavement as a source of her singular images of the dying Cleopatra. Artemisia Gentileschi was in Rome for a time and also in Venice. Facts Matter. The Detroit painting is notable for her mastery of chiaroscuro and tenebrism the effects of extreme lights and darks , techniques for which Gerrit van Honthorst , Trophime Bigot , and many others in Rome were famous. It is believed that the subject bears a resemblance to Artemisia. Yet Gentileschi was tortured and Tassi was set free. About she moved to Naples, and in she arrived in London, where she worked alongside her father for King Charles I. The major issue of this trial was the fact that Tassi had taken Artemisia's virginity. During that event she herself was forced to give evidence under torture. While many artists have chosen this subject, Susanna is usually presented as unaware of the elders' presence, or even welcoming them in a flirtatious fashion. This dynamism is further highlighted by the use of bold colors and dramatic chiaroscuro. Mann critiques feminist opinion of Artemisia, finding that old stereotypes of Artemisia as sexually immoral have been replaced by new stereotypes established in feminist readings of Artemisia's paintings: Without denying that sex and gender can offer valid interpretive strategies for the investigation of Artemisia's art, we may wonder whether the application of gendered readings has created too narrow an expectation. Her approach to subject matter was different from her father's, however, as her paintings are highly naturalistic, where Orazio's are idealized. There is some debate as to the meaning of this and it has been suggested by art historians Keith Christiansen and Judith W. Supposedly painted after her experience with Tassi, its appearance so close to the assault seems rather a coincidence. Lifting my clothes, he placed a hand with a handkerchief on my mouth to keep me from screaming. But Gentileschi makes the servant a strong young woman who actively participates in the killing. A later and clearer use of Gentileschi's story appears in Anna Banti 's Artemisia. Merlet exonerates Tassi of rape, not only by depicting their sex as loving and consensual which sparked controversy upon the film's release , but also by two ahistorical fabrications: Artemisia denies the rape under torture, while Tassi falsely confesses to rape to stop Artemisia's torment. At any rate, in she had a second daughter. Other artists pretended to be men of honour, he explained, but let him down. Gentileschi, on the other hand, shows Susanna's distress at being watched and accosted by the men, presenting the incident as a traumatic event. Although influenced both by Caravaggio and her father Orazio - she was perhaps more affected by the dominant styles of the cities and regions in which she was active. Pinterest Evidence of trauma … Susanna and the Elders by Gentileschi. Being a woman painter was all but unheard of during the High Renaissance. Her style, tone of defiance, and strength relaxed. Canadian playwright Sally Clark wrote several stage plays based on the events leading up to and following the rape of Artemisia. But commissions were both thin on the ground and highly competitive..