28 Facts About Artemisia Gentileschi

Artemisia Gentileschi is considered among the most accomplished seventeenth-century artists, initially working in the style of Caravaggio.

Artemisia Gentileschi's was producing professional work by the age of fifteen.

Artemisia Gentileschi was known for being able to depict the female figure with great naturalism and for her skill in handling colour to express dimension and drama.

For many years Artemisia Gentileschi was regarded as a curiosity, but her life and art have been reexamined by scholars in the 20th and 21st centuries.

Artemisia Gentileschi's is regarded as one of the most progressive and expressive painters of her generation, with the recognition of her talents exemplified by major exhibitions at internationally esteemed fine art institutions, such as the National Gallery in London.

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Artemisia Gentileschi's was the eldest child of Prudenzia di Ottaviano Montoni and the Tuscan painter Orazio Gentileschi.

Artemisia Gentileschi's learned drawing, how to mix colour, and how to paint.

The painting shows how Artemisia Gentileschi assimilated the realism of and effects used by Caravaggio without being indifferent to the classicism of Annibale Carracci and the Bolognese School of Baroque style.

Artemisia Gentileschi became a successful court painter, enjoying the patronage of the House of Medici, and playing a significant role in courtly culture of the city.

Artemisia Gentileschi's was the first woman accepted into the Accademia delle Arti del Disegno .

Artemisia Gentileschi's maintained good relations with the most respected artists of her time, such as Cristofano Allori, and was able to garner the favour and the protection of influential people, beginning with Cosimo II de' Medici, Grand Duke of Tuscany, and especially of the Grand Duchess, Christina of Lorraine.

Artemisia Gentileschi's learned to read and write and became familiar with musical and theatrical performances.

Artemisia Gentileschi painted this in the form of a nude young woman holding a compass.

Artemisia Gentileschi painted a second version of Judith beheading Holofernes, which now is housed in the Uffizi Gallery of Florence.

Artemisia Gentileschi tolerated it, presumably because Maringhi was a powerful ally who provided the couple with financial support.

Artemisia Gentileschi interacted with the Bentveughels group of Flemish and Dutch painters living in Rome.

In 1630, Artemisia Gentileschi moved to Naples, a city rich with workshops and art lovers, in search of new and more lucrative job opportunities.

The Neapolitan debut of Artemisia Gentileschi is represented by the Annunciation in the Capodimonte Museum.

Artemisia Gentileschi's had relations with many renowned artists, among them Massimo Stanzione, with whom, Bernardo de' Dominici reports, she started an artistic collaboration based on a real friendship and artistic similarities.

In Naples Artemisia Gentileschi started working on paintings in a cathedral for the first time.

In 1638, Artemisia Gentileschi joined her father in London at the court of Charles I of England, where Orazio had become court painter and received the important job of decorating a ceiling allegory of Triumph of Peace and the Arts in the Queen's House, Greenwich built for Queen Henrietta Maria.

Artemisia Gentileschi had her own commissions to fulfil after her father's death, although there are no known works assignable with certainty to this period.

Artemisia Gentileschi'storians know that in 1649 she was in Naples again, corresponding with Don Antonio Ruffo of Sicily, who became her mentor during this second Neapolitan period.

Artemisia Gentileschi's then published a second, smaller book entitled Artemisia Gentileschi around 1622: The Shaping and Reshaping of an Artistic Identity in 2001 that explored the artist's work and identity.

Garrard noted that analysis of Artemisia Gentileschi's oeuvre lacks focus and stable categorization outside of "woman", although Garrard questions whether femaleness is a legitimate category by which to judge her art at all.

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Artemisia Gentileschi is known for her portrayals of subjects from the Power of Women group, for example her versions of Judith Slaying Holofernes.

Artemisia Gentileschi's aims to place Gentileschi's career in its historical context of taste for dramatic narratives of heroines from the Bible or classical sources.

Feminist scholars suggest that Artemisia Gentileschi wanted to take a stand against the stereotype of female submissiveness.