Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Characteristic of italian baroque art
Italian baroque art
Women in art history essay
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Introduction
Two years ago I went to an exhibition in Milan titled: “Artemisia: storia di una passione” (“Artemisia: history of a passion”). The exhibition was sponsored by the Assessorato alla Cultura of the Comune of Milano and curated by Roberto Contini and Francesco Solinas, with the scenographic and theatrical work of Emma Dante.
Artemisia Gentileschi (Rome 1593 - Naples 1652/53) was a Roman painter, daughter of the painter Orazio Gentileschi and Prudenza Montone (who died when Artemisia was twelve). First of six children (all males), at a very early age was initiated to painting by her father, a follower of Caravaggio.
In 1612 began the rape process, marked Artemisia’s entire life. She was fifteen years old and her rapist, Agistino Tassi, was about 32. At the beginning of the year Artemisia declared that the previous year, at his home in via della Croce, her perspective teacher had raped her. Agostino Tassi, after the rape, had deluded to marry her - causing the girl to behave more uxorio - but when she discovered the deception, she informed his father that made an appealed to the justice. To confirm the accusations she had to undergo further questioning under torture. Tassi was convicted and he spent eight months in prison in Corte Savella, but in the end the case was dismissed. Later on Agostino and Orazio Gentileschi reunited, forgetting what happened. Apparently the threshold of tolerance of violence against women was very low in the society of the time.
Undoubtedly Artemisia made a big effort to rehabilitate from the story of the rape through a combined marriage, but especially through her career. Unfortunately, the episode clouded part of the artistic achievements of Artemisia, who was long considered a “curiosity...
... middle of paper ...
...stablished herself as an artist in the 17th century, thing that for a woman was not so trivial!
Works Cited
• GRISELDA POLLOCK, review of “Artemisia Gentileschi: The Image of the Female Hero in Italian Baroque Art”, THE ART BULLETIN SEPTEMBER 1990 VOLUME, LXXII NUMBER
• MARY D. GARRARD, “Artemisia Gentileschi: The Image of the Female Hero in Italian Baroque Art”, Princeton, Princeton, University Press, 1989.
• RODERICK CONWAY MORRIS, “Artemisia: Her Passion Was Painting Above All Else”, New York Times, Published November 18, 2011
• CELESTINE BOHLEN, “Elusive Heroine Of the Baroque; Artist Colored by Distortion, Legend and a Notorious Trial”, New York Times, Published February 18, 2002
• DEBORAH SOLOMON, “Out of the Past, An Ur-Feminist Finds Stardom”, New York Times, Published May 3, 1998
• JORG ZUTTER, “REVIEW OF EXHIBITION”, Renaissance Studies Vol. 27 No. 1
Barbara Strozzi was one of the most talented figures of the seventeenth century. Strozzi was born in Venice in 1619 to Isabella Garzoni, servant to Giulio Strozzi. In 1628, Giulio Strozzi acknowledged Barbara as his natural daughter by referring to her in his will as his “figliuola elettiva”, meaning elective daughter and designating her as his heiress. (Spiller, Melanie. 2012)
Goldner, George R., Lee Hendrix, Gloria Williams Sander, N. J. L. Turner, and Carol Plazzotta. "Andrea Schiavone." In European drawings: catalogue of the collections. Malibu, Calif.: J. Paul Getty Museum, 1988. 114.
Daum, Gary. "Chapter 12 The Baroque Era (1600-1750)." Georgetown Prep. 1994. Georgetown University. 12 July 2005 .
The female artist I would like to write my week one journal about is Properzia de' Rossi. De Rossi was born 1490 in Bologna to a notary named Giovanni Rossi. I could not find any information about her mother or her upbringing. De Rossi face addition obstacles pursuing art due to no previous training, unlike her female counterparts whose fathers were artists and guided their hands. Later, she did have the privilege of learning from the Bolognese master engraver and artist Marc Antonio Raimondi, as well as studied at the University of Bologna. Under, Raimondi, De Rossi studied music, painting, poetry, dance, drawing and classical literature. Undecided about how she wanted to express herself through her art, she tried her hand at sculpture
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.
Womble, Alison. “Sappho and Christina Rossetti II.” Victorian Web. 26 Nov. 2004. 14 Dec. 2004. <www.victorianweb.org>.
Through the exploration of this diverse range of portraiture, the contrasting ideals of masculine and feminine beauty in the Renaissance have been explored. Yet overall, no matter what the gender orientation of the subject, the discovery of such passionate and artistic talent is essentially ‘beautiful’. Consequently, the grand appeal of such glorious images is still appreciated today, and will continue to delight viewers for generations to come. Bibliography Paola Tingali Women in Italian Renaissance Art (Manchester, 1997).
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.
This journal highlights advances women made in the seventeenth century. Upham goes into great detail about certain leaders in the advancement of women such as Catherine Trotter, Mary Pix, and Aphra Behn.
Smith, R. “Eternal objects of desire. Art Review- Art and love in Renaissance Italy” in New York Times Art and Design, November 20, (2008)
Artemisia Gentileschi recreated the gruesome, Judith Slaying Holofernes, painting. She painted the masterpiece around 1612-1620 time period. She was an amazing Italian Baroque painter and the first women painter in the 17tth century Europe. This artwork was painted during the Florentine period. It was originally Caravaggio painting but, she revamped it and made it more dramatic and tensed . The narrative of this piece is about a heroic women who saves her town. This painting is an example of women empowerment to fight back. The painting is about a biblical story, the town of Judith was raided by General Holofernes and his army. For her to save the town, she went to the general private tent and seduced him. Once she got him drunk, she used a sword and decapitated his head. She was the hero of the town. Her
Elizabeth Siddal, Pre-Raphaelite model and wife to Gabriel Rossetti, is the source of intrigue for many Victorian researchers. Her mystery began from her vague background as a milliner’s assistant. From the start, many stories were told of her discovery and yet few stories were told of her past before that point. A frail young woman, she was addicted to narcotics and suffered from a variety of ailments, from the physical to the mental. Her turbulent relationship with Rossetti was plagued with ups and downs, and yet after her death, he mourned her with great sorrow and guilt.
Domenico Puligo’s piece titled The Virgin and Child in Majesty with Saints Quentin and Placidus is from the
Even though he was imprisoned it still ruined Artemisia reputation. It also angered and haunted her causing her to paint a lot of her feelings in paintings. We see her feelings in this brutal and graphic painting where Judith is killing Holofernes, it is believed she has painted herself as Judith and her mentor as Holofernes making the painting very
Larmann, R., & Shields, M. (2011). Art of Renaissance and Baroque Europe (1400–1750). Gateways to Art (pp. 376-97). New York: W.W. Norton.