Artemisia Gentileschi
Italian 1593-1652 Artemisia Gentileschi Gallery Gentileschi was born on July 8, 1593 in Rome. She was the daughter of the painter Orazio Gentileschi and was trained by him. Our perception of Gentileschi has been colored by the legend surrounding her. Her alleged rape by her father colleague, the quadratura painter Agostino Tassi, when she was 17, was the subject of a protracted legal action brought by Orazio in 1611. Although she was subsequently married off to Pietro Antonio di Vicenzo Stiattesi in 1612 and gave birth to at least one daughter, she soon separated from her husband and led a strikingly independent life for a woman of her time - even if there is no firm evidence for the reputation she enjoyed in the 18th century as a sexual libertine. After her marriage, Gentileschi lived in Florence until about 1620. She then worked in Genoa and settled in Naples in 1630. Gentileschi traveled to England in 1638-40, where she collaborated with her father on a series of canvasses for the Queen House, Greenwich (now Marlborough House, London). Gentileschi died in Naples in 1652. It is tempting to adduce the established biographical data in partial explanation of the context of her art: the sympathy and vigor with which she evokes her heroines and their predicaments, and her obsession with that tale of female triumph, Judith and Holofernes. But such possibilities should not distract attention from the high professional standards that Gentileschi brought to her art. In a letter, dated July 3, 1612, to the Grand Duchess of Tuscany, Orazio claimed that "Artemisia, having turned herself to the profession of painting, has in three years so reached the point that I can venture to say that today she has no peer. Despite the obvious exaggeration, one can agree that Gentileschi art was of a consistently high quality virtually from the beginning.
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Artemisia Gentileschi ArtemisiaSelfP oil painting


ArtemisiaSelfP
Oil on canvas, 96,5 x 73,7 cm cyf
Painting ID::  78175 		Artemisia Gentileschi
ArtemisiaSelfP
Oil on canvas, 96,5 x 73,7 cm cyf
   
   
     
Artemisia Gentileschi Sleeping Venus oil painting


Sleeping Venus
Oil on canvas, 37 x 56.75 in Date 1625-30 cyf
Painting ID::  78372 		Artemisia Gentileschi
Sleeping Venus
Oil on canvas, 37 x 56.75 in Date 1625-30 cyf
   
   
     
Artemisia Gentileschi Self portrait oil painting


Self portrait
1615-1617 Medium Oil Dimensions 30 x 28 cm (11.8 x 11 in) cyf
Painting ID::  79240 		Artemisia Gentileschi
Self portrait
1615-1617 Medium Oil Dimensions 30 x 28 cm (11.8 x 11 in) cyf
   
   
     
Artemisia Gentileschi Maria Maddalena oil painting


Maria Maddalena
1616(1616) Medium Oil on canvas cyf
Painting ID::  82396 		Artemisia Gentileschi
Maria Maddalena
1616(1616) Medium Oil on canvas cyf
   
   
     
Artemisia Gentileschi Artemisia oil painting


Artemisia
Date 1620 cyf
Painting ID::  83084 		Artemisia Gentileschi
Artemisia
Date 1620 cyf
   
   
     
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     Artemisia Gentileschi
     Italian 1593-1652 Artemisia Gentileschi Gallery Gentileschi was born on July 8, 1593 in Rome. She was the daughter of the painter Orazio Gentileschi and was trained by him. Our perception of Gentileschi has been colored by the legend surrounding her. Her alleged rape by her father colleague, the quadratura painter Agostino Tassi, when she was 17, was the subject of a protracted legal action brought by Orazio in 1611. Although she was subsequently married off to Pietro Antonio di Vicenzo Stiattesi in 1612 and gave birth to at least one daughter, she soon separated from her husband and led a strikingly independent life for a woman of her time - even if there is no firm evidence for the reputation she enjoyed in the 18th century as a sexual libertine. After her marriage, Gentileschi lived in Florence until about 1620. She then worked in Genoa and settled in Naples in 1630. Gentileschi traveled to England in 1638-40, where she collaborated with her father on a series of canvasses for the Queen House, Greenwich (now Marlborough House, London). Gentileschi died in Naples in 1652. It is tempting to adduce the established biographical data in partial explanation of the context of her art: the sympathy and vigor with which she evokes her heroines and their predicaments, and her obsession with that tale of female triumph, Judith and Holofernes. But such possibilities should not distract attention from the high professional standards that Gentileschi brought to her art. In a letter, dated July 3, 1612, to the Grand Duchess of Tuscany, Orazio claimed that "Artemisia, having turned herself to the profession of painting, has in three years so reached the point that I can venture to say that today she has no peer. Despite the obvious exaggeration, one can agree that Gentileschi art was of a consistently high quality virtually from the beginning.

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