Across Europe, between 1400 and 1650, there were women present in all major styles of time. They worked along side of great artists and were developing new techniques and styles. Women also played a very important role in the Renaissance. Although not as well documented as their male counterparts, women worked along with the other great masters, were just as innovating, and were key in developing new techniques.
Artemisia Gentileschi (1593 – 1652), daughter of a well-known Roman artist, was one of the first women to become recognized in her time for her work.. She was noted for being a genius in the world of art. But because she was displaying a talent thought to be exclusively for men, she was frowned upon. However by the time she turned seventeen she had created one of her best works. One of her more famous paintings was her stunning interpretation of Susanna and the Elders. This was all because of her father. He was an artist himself and he had trained her and introduced her to working artists of Rome, including Michelangelo Merisi da Caravaggio. 1. In an era when women artists were limited to painting portraits, she was the first to paint major historical and religious scenes. After her death, people seemed to forget about her. Her works of art were often mistaken for those of her fathers. An art historian on Artemisia, Mary D. Garrard notes that Artemisia “has suffered a scholarly neglect that is unthinkable for an artist of her caliber.” Renewed and long overdue interest in Artemisia recently has helped to recognize her as a talented renaissance painter and one of the world’s greatest female artists. She played a very important role in the renaissance.
(http://www.artemisia-gentileschi.com/index.shtml)
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...n for her spontaneity which came from her passionate and stubborn temperament. In her Rime, she writes poems relating to her love of a man named Collaltino. Her poems are filled with ecstasy and sorrow, with the remembering of happy moments but also with jealousy and anxiety between the two. In 1553, her health took a turn for the worse. She caught a high fever which killed her in a few days. The same year, her sister had her Rime published. It was not very successful in her century. It had to wait two centuries before being published again. She is now hailed as one of the greatest Italian poets. Stampa’s Rime is one of the largest collection of Canzonieri in the Italian literature. There are 311 poems in all, arranged in chronological order. Gaspara freed herself from her obsessive love by transferring her pain into some of the greatest poetry in Italian history.
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.
The Renaissance gave more light to philosophy, and philosophers thought everyone is equal. There was a female ruler, and art put women in the public eye. Yet, women weren't allowed to take part as much as men, and upper class women had even less rights than peasant women. Queen Elizabeth affected the West in many ways. She refused to marry until the day she died, and she defeated the Spanish Armada. Her supporting the arts also helped plays and paintings bring women more into the public eye. Still, women still had less rights than men at the time. Most philosophers were men and many of them preached of how men were more powerful than women. And in contrast to popular belief, upper class women had even less rights than peasant women at the time. Upper class women were treated as mere housewives, which limited the rights of women because the most powerful women at the time were illiterate. Giving them little power compared to
I had never heard of the artist Artemisia Gentileschi before this introductory Art course. Of all the paintings and sculptures found within the book, it was her work that stood out and spoke to me. "Judith and Maidservant with the head of Holofernes" is a particularly rich oil painting by the Italian Gentileschi, painted circa 1625 Europe. Her large canvas measures 72 and 1/2 inches by 55 and 3/4 inches and began as a biblical story telling inspiration come to life within the oil. Located at the Detroit Institute of Arts, the painting was a gift to the institute from Art collector Mr. Leslie H. Green in 1952. Artemisia was the daughter of a painter (and caravaggio influenced) Orazio Gentileschi, she was also the wife of little known artist Pierantonio Stiattesi. Artemisia had four sons and one daughter during her marriage. A student of the Chiaroscuro technique and during a time when women were not believed capable of painting competitively and intelligently as the men of the day. Artemisia proved them wrong with stunning work and artistry over her artistic career.
By most accounts, the year 1500 was in the midst of the height of the Italian Renaissance. In that year, Flemmish artist Jean Hey, known as the “Master of Moulins,” painted “The Annunciation” to adorn a section of an alter piece for his royal French patrons. The painting tells the story of the angel Gabriel’s visit to the Virgin Mary to deliver the news that she will give birth to the son of God. As the story goes, Mary, an unwed woman, was initially terrified about the prospects of pregnancy, but eventually accepts her fate as God’s servant. “The Annunciation” is an oil painting on a modest canvas, three feet tall and half as wide. The setting of the painting is a study, Mary sitting at a desk in the bottom right hand corner reading, and the angel Gabriel behind her holding a golden scepter, perhaps floating and slightly off the canvas’s center to the left. Both figures are making distinct hand gestures, and a single white dove, in a glowing sphere of gold, floats directly above Mary’s head. The rest of the study is artistic but uncluttered: a tiled floor, a bed with red sheets, and Italian-style architecture. “The Annunciation” was painted at a momentous time, at what is now considered the end of the Early Renaissance (the majority of the 15th Century) and the beginning of the High Renaissance (roughly, 1495 – 1520). Because of its appropriate placement in the Renaissance’s timeline and its distinctly High Renaissance characteristics, Jean Hey’s “Annunciation” represents the culmination of the transition from the trial-and-error process of the Early Renaissance, to the technical perfection that embodied the High Renaissance. Specifically, “Annunciation” demonstrates technical advancements in the portrayal of the huma...
RODERICK CONWAY MORRIS, “Artemisia: Her Passion Was Painting Above All Else”, New York Times, Published November 18, 2011
Both Jan van Eyck and Fra Angelico were revered artists for the advances in art that they created and displayed for the world to see. Their renditions of the Annunciation were both very different, however unique and perfect display of the typical styles used during the Renaissance. Jan van Eyck’s panel painting Annunciation held all the characteristics of the Northern Renaissance with its overwhelming symbolism and detail. Fra Angelico’s fresco Annunciation grasped the key elements used in the Italian Renaissance with usage of perspective as well as displaying the interest and knowledge of the classical arts.
Sofonisba Anguissola quickly rose the ranks and became one of the only, and the best female painters during the Renaissance. Her self-portraits highlighted “the idea of female beauty as an equivalent of art” (Sofonisba Anguissola the “Miracolo di Natura”). Painting like this was vastly different because most humanistic Renaissance paintings sexualized and objectified woman. “Thus the first woman painter to achieve fame and respect did so within a set of constraints that removed her from competing for commissions with her male contemporaries and that effectively placed her within in a critical category of her own.” (Chadwick, 79). Sofonisba’s originality and innovation was further demonstrated when she corresponded with the great painter Michelangelo (Sofonisba Anguissola the “Miracolo di Natura”). Seeking criticism, she sent the great Michelangelo a portrait of a young girl crying. He responded by sending the portrait back and saying “ he would rather have seen the more difficult subject of a crying boy” S...
Prostitution is normally thought of as anyone who sells his or her body for money. In this century, no distinction is put on the class level of the prostitute or on how much or how little he or she earns, they are still considered just a common prostitute. This was not true of 16th century Italy, though. In this age, prostitution was a legal business and class lines were of great importance. At the top of this list were the honest courtesans; honest because they believed they acquired their capital through honest means. They redefined the male humanist category of virtue as a woman's intellectual integrity and used this, their outstanding wit and intelligence, along with their bodies to earn their living. The courtesans of Italy, especially Venice and Rome, were the flowers of the city. Visited almost exclusively by the men of the upper class, the courtesans had to project an image of sophistication and nobility. They held their own with the male nobility and were often admired and considered intellectual equals by these men. Unlike the imprisoned and sheltered noble women of Italy, either enslaved in an arranged marriage or locked up in a convent, the courtesans were independent and free to do as they wished. Precursors to the modern women of today, the courtesans of 16th century Italy were intelligent and well read, they earned their living by their beauty and wit, and were mistresses of their own fate.
Historians and scholars often overlook the part that women played in the Renaissance. Did women have a Renaissance? The period did not occur in a male only vacuum; women played an important part in the changes taking place across Europe. No matter a woman’s station in the class system, women, were still considered the sinful daughter of Eve, the downfall of man. Into this world stepped Isabella d’Este, one of the great women of the Renaissance.
This time, the artist depicted a scene after Judith had killed her enemy. On page 123, Artemisia then presented this painting at the Palazzo Pitti. It was during this event where she first met Galileo Galilei who complemented her work (Vreeland 125).
One of the most notable artistic aspects that blossomed from the Renaissance was the art of portraiture. Many factors contributed to the development of a Renaissance portrait, such as social status and gender. It was through these portraits that artists constructed the ideal persona of Renaissance men and women, enforcing expectations of physical beauty and proper behavior. Renaissance artists were not just trying to record the likeness of a person, but also interpret the message of the human face. During this time period, the main focus was on the subject of the painting instead and replaced the artist as the predominant figure. This paper will further examine the use of Renaissance portraits in their portrayal of both genders and how that contributed to their expected roles in society.
The Renaissance is a period in Europe following the revival of classical ideas, art, and architecture. Although this time period underwent many liberal changes, the idea that women were intended to be subjects to men still remained. On the other hand, a few women of the time were able to break this mold of subjugation. One woman in particular, Isabella d’Este, created her own feminine “rebirth”. Isabella d’Este was the daughter of Ercole I d'Este, the Duke of Ferrara. Unlike most women during this time period, d’Este was provided educational opportunities equal to her male siblings. At the age of sixteen, she was said to have spoken fluent Greek and Latin along with possessing various musical and artistic abilities. She could also engage in political debates with well-respected and knowledgeable men. Her various talents led her to become a powerful and well-educated political figure, patron of the arts, and humanitarian.
The Baroque period was one of great confusion and change. I chose Artemesia Gentileschi to illustrate and exemplify the ideals of this time. She was the first woman to become famous in Western art of her time. She specialized in gruesome, dramatic paintings that masterfully employ Baroque techniques.
Throughout the years, women’s roles in society have changed according to the time period they were in. In the time of the Renaissance, women had specific roles in their houses, mostly dependent on what the man of the house wanted. Women in the time of the Renaissance had three main roles in life, which were to be faithful and loyal, to take care of the house and the children, and lastly to see that nothing happened to the house and that women were to be kept out of the dealings of men.
Despite her artistic reputation, her strong personality, and her numerous good relationships, however, Rome was not so lucrative as she hoped. Her style, tone of defiance, and strength relaxed. She painted less intense works; for instance, her second version of Susanna and the Elders (1622).[9] The appreciation of her art was narrowed down to portraits and to her ability with biblical heroines. She did not receive any of the lucrative commissions for altarpieces. The absence of sufficient documentation makes it difficult to follow Artemisia's movements in this period. It is certain that between 1627 and as late as 1630, she moved to Venice, perhaps in search of richer commissions. Evidence for this is that verses and letters were composed in