Alla GENTILESCHI, Artemisias Oljemålningar
ID Bilder  Oljemålningar Från A till Z     Information
6815  
GENTILESCHI, Artemisia, Birth of St John the Baptist dfg
  		Birth of St John the Baptist dfg c. 1635 Oil on canvas, 184 x 258 cm Museo del Prado, Madrid
6820  
GENTILESCHI, Artemisia, Judith and her Maidservant sdg
  		Judith and her Maidservant sdg 1612-1613 Oil on canvas, 114 x 93.5 cm Galleria Palatina (Palazzo Pitti), Florence
6818  
GENTILESCHI, Artemisia, Judith Beheading Holofernes (detail) sdg
  		Judith Beheading Holofernes (detail) sdg 1611-12 Oil on canvas Museo Nazionale di Capodimonte, Naples
6817  
GENTILESCHI, Artemisia, Judith Beheading Holofernes dfg
  		Judith Beheading Holofernes dfg 1611-12 Oil on canvas, 158,8 x 125,5 cm Museo Nazionale di Capodimonte, Naples
6819  
GENTILESCHI, Artemisia, Judith Beheading Holofernes dg
  		Judith Beheading Holofernes dg 1612-21 Oil on canvas, 199 x 162 cm Galleria degli Uffizi, Florence
6821  
GENTILESCHI, Artemisia, Mary Magdalen df
  		Mary Magdalen df 1613-20 Oil on canvas, 146.5 x 108 cm Galleria Palatina (Palazzo Pitti), Florence
6816  
GENTILESCHI, Artemisia, Portrait of a Condottiero dg
  		Portrait of a Condottiero dg 1622 Oil on canvas, 208 x 128 cm Palazzo d'Accursio, Bologna
6822  
GENTILESCHI, Artemisia, Self-Portrait as the Allegory of Painting fdg
  		Self-Portrait as the Allegory of Painting fdg 1630s Oil on canvas, 96,5 x 73,7 cm Royal Collection, Windsor
6824  
GENTILESCHI, Artemisia, Susanna and the Elders gfg
  		Susanna and the Elders gfg 1610 Oil on canvas, 170 x 121 cm Schloss Weissenstein, Pommersfelden
GENTILESCHI, Artemisia
Italian Baroque Era Painter, 1593-1652 Tuscan painter, daughter and pupil of Orazio Gentileschi, b. Rome. She studied under Agostino Tassi, her father's collaborator, who was convicted of raping the teen-age Artemisia in 1612. Over the years, she has been portrayed as a strumpet, a feminist victim or heroine, and an independent woman of her era and her life has been fictionalized in several novels and plays. In purely artistic terms, she achieved renown for her spirited execution and admirable use of chiaroscuro in the style of Caravaggio, and during her life she achieved both success and fame. In 1616 she became the first woman admitted to the Academy of Design in Florence. About 1638 she visited England, where she was in great demand as a portraitist. Among her works are Judith and Holofernes (Uffizi);



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