During the seventeenth century in Europe, Artemisia Gentileschi, Italian Baroque woman artist painted Judith Decapitating Holofernes. At this time of period, there were a few professional women artists. Most often women were not allowed to adequately complete the traditional way of becoming trained painters. Luckily, Gentileschi’s father was an artist and was able to help her gain recognition as well as lead her to be trained. She was also influenced by the Italian artist Caravaggio and from her traumatic past. Moreover, Gentileschi was found to have always demonstrated the female figures in her artwork to be strong with emotions and power.
The medium of Judith Decapitating Holofernes is an oil on canvas. Gentileschi uses only one focal point which is where the blood
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It in fact had already been painted by Caravaggio, however, Gentileschi changed some details such as the maidservant not being an old person and her helping Judith restrain Holofernes’ neck. She also depicts Judith and the maidservant to be physically and emotionally strong. Thus in this time of period many of the artwork involved an increased amount of motion and emotion. As a result of the dramatic inclusion in the artwork Gentileschi definitely added it to her painting by using movement and light.
Frida Kahlo was a Mexican artist that in which 55 out of 164 of her painting were self-portraits during the early 1900s. She was married, divorced and re-married to the Mexican artist Diego Rivera. Kahlo suffered from polio at age six but eventually recovered. However, she began to paint after she had suffered from a bus accident that left her immobilized for about three months. In addition to Kahlo emotional and physical pain throughout her life she was very politically active. Today Frida Kahlo is seen as an inspiring and influential feminist
Artemisia Gentileschi (1593-1654?) was one of the most important women artists before the modern period and certainly one of the most famous female painters from the seventeenth century. Gentileschi’s paintings regularly featured women as the protagonists acting in a manner equal to men. In fact, forty nine of her paintings fall into this category. She was raped at the age of 18 and the subsequent events lent her a certain amount of notoriety. These factors have led many to interpret her artwork as an expression of her role as a female victim looking for revenge through her art. Instead, a closer examination of Gentileschi’s life and her artwork exposes the artist as an individual with personal strength and incredible talent who painted subjects similar to or the same as those of her male counterparts, instead of staying within the guiding principles of what was acceptable “feminine” art.
I found The Raising of Lazarus and Annunciation to be interesting pieces on their own as well as to be compared. At face value, these paintings do not appear to contain many contrasting features. However, by examining these paintings closely, one can conclude that paintings with similar themes, mediums, and time periods can still differ in countless ways. Light, medium, subject, color, space, and viewpoint are just a few of the characteristics that can be considered when analyzing Wtewael and Caliari’s works. It is imperative that observers of art take a deeper look into the different features of artwork in attempt to uncover the intentions of the artist.
Born July 6, 1097, in Coyocoan, Mexico City, Mexico. Considered one of Mexico’s greatest artists, Frida Kahlo began painting after she was severely injured in a bus accident.
Sofonisba Anguissola was one of the most prominent female painters of the Renaissance. Not only was she one of only four women mentioned by Giorgio Vasari in his famous Lives of the Artists, she also paved the way for later female artists. One may look at Sofonisba’s upbringing and assume that her talents were a result of her wealth and family background. However, if investigated more carefully through both analytical secondary sources and primary sources, it becomes clear that Sofonisba’s painting abilities formed because of her talent, not her wealth. Sofonisba integrated herself into the artistic community and used her second-class status as a female painter to accelerate her career: because she was not able to study as an apprentice in a workshop, her models were usually family members, she pioneered the style of genre painting. Historian Joan Kelly argues in her essay, “Did Women Have a Renaissance?” that women did not experience a Renaissance during the actual Renaissance. Sofonisba’s training and connections were extremely helpful to launch her career, refuting Kelly’s argument that women only were taught “charm” during the Renaissance. In addition, Sofonisba married her second husband for love, not for money, debunking Kelly’s argument that marriages during the Renaissance were not based on love. Though Sofonisba’s life as a woman is a unique case in terms of wealth and profession, her success and fame, talent, and marriage (van dyck?) disprove Kelly’s argument that women did not have a Renaissance during the Renaissance.
Frida Kahlo was an amazing woman whose many tragedies influenced her to put her stories into her paintings. She was born in July 6th 1907 to a Mexican Roman Catholic mother who was of Indian and Spanish decent and a German photographer father. Frida had three sisters, Mitilde and Adriana, who were older and Christina who was younger. She learned about Mexican history, art and architecture by looking at her father’s photography. When Frida was six she got polio and it was a long time before she would heal completely. After surviving polio, Frida’s right leg became weak and thin, so her father encouraged her to play sports to help her.
Frida Kahlo is known for the most influential Latin American female artist. She is also known as a rebellious feminist. Kahlo was inspired to paint after her near-death bus incident when she was 17. After this horrendous incident that scarred her for life, she went under 35 different operations. These operations caused her extreme pain and she was no longer able to have kids. Kahlo’s art includes self portraits of her emotions, pain, and representations of her life. Frida Kahlo was an original individual, not only in her artwork but also in her
Frieda Kahlo painted Frieda and Diego Rivera in1931 as a wedding portrait. She did many painting vision of her life. She dealt with a lot of pain that is seen in her art work. She worked on this portrait during the first year of their marriage. She did many self-portrait painting on her life.
Often Holofernes is partially shadowed and obscured while Judith is the focal point, but Gentileschi switched the roles. In two more paintings by Gentileschi, Judith and her maidservant are both depicted after the beheading with the maidservant holding Holofernes’s head and using similar techniques to her previous work. While
Frida Kahlo Frida Kahlo was with her boyfriend Alex Gomez when they got on the bus to get home to Coyoacoan, Mexico. The bus could not stop and was hit by two cars which hit the back where Frida and her boyfriend were sitting. She began painting after she was severely injured in that accident and lived through more problems. Frida Kahlo passed through very hard times but that did not mean she had to give up. Frida Kahlo is an influential female role model because of her dark background, she inspired people with her artwork, and she was able to work as a painter even with her ilness’s.
Frida Kahlo Frida Kahlo was Mexico’s most famous artist, best recognised by her self portraits. She was born in Coyoacán, Mexico City, Mexico on July 6, 1907. When she was six years old, she contracted polio which left her right leg shorter and thinner than the other, which she disguised by wearing long skirts. In September 1925, when she was just 18, Kahlo was riding in a bus that collided with a trolley car. As a result she suffered serious injuries as an outcome of the accident, including a broken spinal column, a broken collarbone, broken ribs, eleven fractures in her right leg, a crushed and dislocated right foot, and a dislocated shoulder.
This essay will reflect on how body is represented in the portraiture art within the Renaissance’s golden period detailing specifically Botticelli’s paintings and how this experience have broadened and enhanced my knowledge towards the future interest. This period arise when the medieval dark ages come to its end and artist and their patronage reinvented and represented the ideas of the classical mythology, particularly of the ancient Greek and Rome. It is a time when outstanding numbers of paintings, sculptures, alfresco were born and a human body was exposed as the centre of the universe. An epoch where the dominate themes were no longer pure religious devotions but it shift its focus primarily towards the anatomical beauty of the bodies, ideally represented. Furthermore, I will detail Botticelli’s paintings “The Birth of Venus” and briefly reflect on other two “Venus and Mars” and “Primavera” paintings. All three include the mythic figure of the Venus, who signifies both passionate love and intellectual love that still culturally lives in today’s world. In my view a real portrait signifies the components of the individuality and also can translates the ideal impression of the truth embodied within human body and soul.
Artemesia Gentileschi was very different from other artisis of her time. Being a woman painter was all but unheard of during the High Renaissance. She had the style of Caravaggio, while at the same time bringing in women's characters who were in the position of power. Throughout art history, an idea that women are present solely for men to look at has been shown. This could be because men have generally been the target audience, and naked women the subject. In her paintings, Gentileschi shifted the focus to women and showed them as real people. She was both praised and scorned by the critics of her time. She was thought a genious, yet terrible because she was a woman in what was thought to be a man's area of expertise.
Subcultures such as Biblical illustration, historical recreation and symbolic art are encompassed in art history This particular piece is a Biblical illustration of the story of the heroine Esther, who, against the rules of the court, appeared before Ahasuerus to beg for the well being of her people The portrayal of a woman by Artemisia Gentileschi here reflects her perspective against the unjust treatment of women in the 17th century Nevertheless, this piece represents not only a fascinating recreation of the Biblical story, but also the act of social outcry This painting shows the role that art plays in historical and social movements such as women’s treatment in the 17th
Frida Kahlo was a Mexican painter, born on the July the 6th, 1907. She was born in small town on the outskirts of Mexico, called Couyocan. Her family lived in a house they built themselves, La Casa Azul, or “The Blue House”. It’s name comes from the structures bright blue walls, and now stands as the Frida Kahlo Museum. At the age of fifteen, Kahlo was enrolled in the National Prepatory School of Mexico, where she was one of only a thirty-five female students. With the dream of becoming a medical doctor, Kahlo studied sciences at the school. But, on Septemer 17th, 1925, Kahlo experienced the fateful accident which changed her life forever. She had been riding on a bus with her boyfriend, Alejandro Gomez Arias, when the vehicle collided with a tram. The accident had left several people dead, and Kahlo with many injuries. Some of which were broken collar bone, fractures in her right leg, a crushed foot and a broken spinal column. The injuries left her in a full-body cast for months on end and was confined to her bed for this time. Kahlo also was left with fertility complications after handrail had pierced her uterus. The tragic event left Kahlo in a world of unbearable pain and also boredom. It was during her bed-ridden recovery where she took up the practice of painting, with herself as the subject. Her mother had made her an easel to paint in bed, where she developed her skills of painting. Her first self portrait, “Self Portrait in a Velvet Dress”, was her first serious piece which she painted in 1926. She painted it as a present to her boyfriend, Alejandro Gomez Arias. The artwork was fairly muted in colour and was quite a traditional European-style artwork. But, as Kahlo continued painting her works transitioned from the acade...
Although this painting was made in the early nineteenth century, Sonia de Klamery’s painting possesses many of the same confrontational qualities as La Maja Desnuda. A reclining frontal position, red lips, fearless and bold eyes, and most importantly, a brazen gaze of utter eroticism. An important note that John Berger makes in his novel, Ways of Seeing is that although women are portrayed in paintings as being they often appear as ‘a compliant object of the painting-method’s seduction’ which is precisely what we see in Sonia de Klamery; a woman whose body is defined by the meticulous and decorative shawl that wraps her snakelike body, yet her upper body somehow loses definition through liquefaction. An interesting example of this is William Blake’s 1795 painting Pity, where woman appears as a liquid structure, who ‘makes is figures lose substance, to become transparent and indeterminate one from the other… to glow without a definable surface, not to be reducible to objects’ (pg. 93). The technique of