Gentileschi identified with Judith, the protagonist of the painting. The book of Judith, a 2nd century text, is a religious story in which Judith defeats the Assyrians, a mighty empire (Branch). The start of this violence, as seen in Judith Slaying Holofernes, was caused when the leader of the Assyrians, Nebuchadnezzar , sent his general Holofernes to attack the Jews held in Bethulia (Judith 7:7, 4:7). Holofernes cut off the city’s water supplies and limited the food supply of the people. This act that lasted 34 days has made the people thirsty and bitter (Judith 7:20, 29). With this distress, the people lost courage and made the decision to surrender within 5 days, unless God took pity on them (Branch). Judith gained courage from God and she
Judith fought the oppressions put upon her by her enemies, in which Gentileschi admired. As Judith physically prepared to pay back for her town, Gentileschi mentally prepared her emotions in order to get revenge. Gentileschi was inspired by Caravaggio’s painting, Judith Beheading Holofernes (Waldron). However, Gentileschi added her own twist, she made it “one of the bloodiest and most vivid depictions of the scene, surpassing the version by Caravaggio, arch-realist of Baroque Rome, in its immediacy and shocking realism” (Camara). Scholars believe Gentileschi made her mark on the painting by adding a special bracelet, as seen in Appendix C. One of the Cameos on the bracelet depict Artemis, the ancient goddess of both chastity and the hunt (Camara). As mentioned before, Gentileschi’s trauma was unforgivable and unforgettable and she depicted that by her artwork. In Appendix B, Artemisia depicts two strong, young women working in unison, their sleeves rolled up, their gazes focused, their grips firm while on the other hand the original, Caravaggio's version, has only one female character committing the act while looking timid
The text also describes that West worked more deliberately on the faces than the things around the girls; people believed that it was a sort of portrait painting. Also in the text it says that, “ Smith (1883) has suggested that Fidelia may be a portrait of a Miss Hall, whom he identifies as the model for West’s Una” (American Paintings, 209). Fidelia is wearing a long white heavy drapery with a blue undergarment. She is holding a large brown book with gold clasp that is known to be the New Testament and she is also holding the gold chalice with a skinny green snake sneaking up but shows no fear to the snake and we know this because of her facial expression, she is just staring away. The text from the Timken Museum also informs us that the New Testament and chalice she was holding are ideas from Christian values, the chalice is supposed to be holding wine and water. However, for this painting the chalice is holding the snake to resemble poison that was meant to kill St. John. Apart from Fidelia, Speranza is wearing purplish long and heavy drapery with a greenish mantle wrapped around her legs and to the back of her, she is standing a bit behind her sister as well as holding onto Fidelias’ arm with a worried face while holding her hand up on her chest on her heart. Speranza is also holding a brown anchor on her left arm that is bent. Fidelia and Speranza are
Joseph Hirsch’s painting Daniel was painted in 1976-1977. In 1978 during the153rd Annual Exhibition of the National Academy of Design, it won the First Benjamin Altman (Figure) prize. It measures 38 inches by 45 inches (96.52 cm x 114.3 cm) with a five inch gold wood frame surrounding it. The medium is oil on canvas. Everything within the painting is centered to draw your eyes to the action of the turned head and the pointed finger. According to the placard next to the painting this is a modern day version of the biblical story of Belshazzar’s Feast following the sacking of Jesualism from the Book of Daniel. From this point on, each figure within the painting will be addressed as Hirsch intended. The painting depicts a seated king, a dozing courtesan and Daniel. The three figures are the focal point of the composition. Hirsch uses a strong color palette to give the painting a luxurious and wealthy feel. Although the detail is not miniscule, the composition as a whole is easily understood. The use of oil paint allowed Hirsch to play with the composition as it was created.
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.
Queenie Volupides had an argument with her husband the night of his death and went to the country club. At 1 am she left the country club and invited her friends over for another drink. Queenie’s friends got there 10 minutes after she did. She claimed that Arthur fell down the stairs going to get another drink. The autopsy report showed that Author died from a wound in the back of his head, and that he was drunk. I believe that
The Biblical Story of David, a young Israeli shepherd boy who slayed the Philistine giant, Goliath has been artistically portrayed in many different ways throughout the centuries. During the Baroque and Renaissance eras, three famous artists sculpted their own interpretation of what the Israelite King may have looked like. These men were Gianlorenzo Bernini, Michelangelo di Lodovico Buonarroti Simoni and Donato Di Niccolo di Betto Bardi, otherwise known as Donatello.
“Dad asked me if I wanted to see more of the Compound. I didn’t. We would have to wait fifteen years before it would be safe to go outside. Which left more than enough time to see the rest of the Compound. Our new world. A world I would soon hate” (Bodeen 8). The Compound by Stephanie Stuve-Bodeen, shows that the Compound is a veritable of hell through her use of repetition, and point of view. The Fallout, also written by Stephanie Stuve-Bodeen, through the point of view of Eli, shows the struggles of readjusting to normal everyday life that we take advantage of. Both works show the importance and symbolism, the titles have towards the development of the story.
Artemisia Gentileschi is an artist who became a well-known famous woman painter. Her 1614 Baroque artwork is done in an oil on canvas painting named Judith Slaying Holofernes, it shows a lot of emotions and a dramatic event. Gentileschi painting is a painting that makes us think and ask questions about the painting.
The wall paintings Investiture of Zimrilim and Queen Neferati Making an Offering to Isis have backgrounds that let viewers into a small view of their ancient times. The first, Investiture of Zimrilim comes from circa 1750 B.C.E. in the great Babylonian Empire of Mesopotamia. It was constructed on a mud plaster wall of the Palace of Zimrilim, who was a contemporary of the Babylonian Ruler, Hammurabi. The palace was located in the capital city of Mari, about 250 miles north of Babylon. This painting was one of the many extravagant wall paintings Zimrilim had to depict his dominance. It was made to show the empowerment of Zimrilim from the Ishtar, the Babylonian goddess of war, fertility, and love. The piece was eventually destroyed by the Babylonians who turned on Zimrilim and ransacked his palace; however parts of the painting survived.
In the novel Maise Dobbs by Jacqueline Winspear, the main character, Maisie Dobbs, at the age of 13 becomes a domestic servant that works for Lord Julian and Lady Rowan where she blackened the fireplace, swept the floor, polished the furniture and ran errands for Lady Rowan. With Maisie only having one job she was able to move in with Lady Rowan and Lord Julian, other known as the Compton’s. In Maisie’s free time she took it upon herself to read some of the books that she had gotten from the library to further her knowledge. I have done my research and none of the domestic servants have said that they have once had free time to do other thing. In the novel Maisie Dobbs it fails to tell the true reality of domestic servants instead it shows
Frances Nacke Noel (January 5, 1873 – April 24 1963) was a German-born American feminist, socialist, and labor activist. Frances Nacke was born in Saxony, Germany. She moved to the United States at age of 20, and settled in Los Angeles in 1899 and married Primrose D. Noel in 1902. She was the vice president and president of Women’s Union Label League in California in 1910 and 1914; president of Wage Earner’s Suffrage League in 1911. She was also president of Los Angeles Chapter of the American Birth Control League in 1926 . She advocated women’s suffrage and organized womanhood. She led socialist women to found L.A branch of National Women’s Trade League, which is the leadership of cross-class women movements , and she also fought for minimum
The poems of Mary Oliver are hailed as masterpieces and classics of the genre, and vary in theme from the wilderness to family life. Despite the multiple different ideas in her poetry, one theme tends to stick out in a depressing way: death. A good portion of Mary Oliver’s writings use death to teach lessons about how life should be lived. The poems that support this theme the best include “Vultures,” “The Black Snake,” and “When Death Comes.”
However, in David’s painting the three brothers pledging themselves to their country are seen as heroic. Whereas, in Goya’s painting symbolic language is seen through the ordinary non-heroic man who is viewed similar to Christ during his crucifixion. David’s artwork is detailed with particular brushwork and depicts the thought of war in a traditional sense. Dissimilarity, Goya’s somber artwork separates away from the customs of Christian art and traditional paintings of war, along with the use of visible loose brush
Jacopo del Sellaio’s Virgin, Child, and St. John is a characteristically iconographic tempera panel painting of Madonna, the Christ Child, and the infant St. John from the early renaissance, dating to the early 1480s. Sellaio was a Florentine painter under the apprenticeship of Sandro Botticelli, which reflects through his style and symbolism in the painting. In this work, he depicts a classically devotional scene filled with biblical symbolism. Sellaio’s Virgin, Child, and St. John expresses Mary’s loving role as Christ’s mother, the protective power and warmth of her maternal bond, and the significance of the birth of Christ.
Flemish artist Jacob Jordaens developed a naturalistic Baroque style in his oil canvas depiction of the Judgement of Paris. Jordaens use of form, saturated colors, effects of texture, and the fact that his female models are believed to representations of his wife make him unique during the Baroque era. The Judgement of Paris is a painting that illustrates a vital scene/moment in classical history, Greek mythology. Many Greek gods and goddess, such as Hera, Athena, Aphrodite, Hermes, and Paris of Troy, are portrayed in the artwork. The content of the painting depicts the wedding banquet of Peleus and Thetis. Almost all the goddess are invited, except Eris, goddess of strife. Out of spite, Eris throws a golden apple with the words "to the