Holofernes by Artemisia Gentileschi in 1620. The reason I chose this painting is because of the graphic nature and the history behind the painting. The painting is 6’ 6 ⅜” x 5’ 3 ¾” oil on canvas located at the Uffizi Gallery in Florence‚ Italy. The painting shows two women (Judith and her maidservant) holding down and cutting off the head of Holofernes. This is clear because of the sword that Judith is holding near his neck and the blood that is painted running down the white sheets. Artemisia Gentileschi
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Feminism and Art ‚ 2 ‚ 2 Feminist activity had been a rising concern in the late 1900’s which is based merely off of the emotional significance of personal and psychological reasoning. Rather than reacting on this issue based on historical evidence‚ the issue is based on immediate needs on the feminist attack. Linda Nochlin‚ and other important scholars and philosophers explain the psychology‚ philosophy‚ sociology‚ and history of art and the feminist movement pertaining to art.
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Theresa. Comaro Chapel. 1645-1652. ItalianBaroque. pg. 675. 3. Caravaggio. Conversionof St. Paul. c. 1601. ItalianBaroque. pg. 683. {e 4. caravaggio. calling of St. Matthew. c.1597-1601. Italian Baroque. pg. 681. {( + * 5. Artemesia Gentileschi. Judith Slaying Holofernes. c. 1614-1620. Italian Baroque. pg. 683. 6. Josd de Ribera. Martyrdom of st. Philip. c.1639. spanish Baroque. pg. 688. T.Yelazquez. Las Meninas. 1656. Spanish Baroque. pg. 691. 8. Rubens. Elevation of the Cross
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process of execution. The executor under Saint Peter has dirty feet and a shovel which implies Saint Peter will be buried. There are three executors working at crucifying this one man. Caravaggio’s paintings had inspired many around Europe. Artemisia Gentileschi was a gifted and influenced by Caravaggio and her father who was also a talented painter. She was born in Rome and learned to paint from her father who which she out shined. During the time period woman weren’t allowed to look at naked men
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Judith Slaying Holofernes Artemisia Gentileschi was not the first to paint Judith Slaying Holofernes. Her father had painted Judith. Michelangelo‚ Botticelli and Caravaggio had painted Judith. Donatello had sculpted Judith. But she was the first to interpret the story of Judith‚ in a time when women had few rights‚ as an allegory for female dominance. In comparison with other contemporary versions‚ the composition‚ dramatic style‚ and emotions of the characters present a violently feminist
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detailing of these works of art were impeccable‚ capturing life-like characteristics and color tones giving off a realistic visual. In this discussion the works of three artists will be observed: Jacque- Louise David‚ Eugene Delacroix‚ and Artemisia Gentileschi. The theme of this discussion will be “Fem Fatal” focusing on the influence of women that have been captured in a painting. The first piece is one entitled‚ Mars Disarmed by Venus and the Three Graces‚ a painting created by the talented Jacques-Louis
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the work being 1610 because it was still too early for such a skill level and the date should be 1619 (Bissell‚ 1968)‚ but Ann Sutherland Harris confirmed the date as 1610. Moreover‚ there is no consensus on the level of involvement of either Artemisia or Orazio ideologically or on the canvas. In his later work‚ Bissell proposes that Orazio had the idea in his mind because‚ accounts from her trial depict she was illiterate‚ but she was largely in charge of orchestrating the image on canvas with
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as still life and portraitures. Because of their constrained independence‚ they were excluded from public commissions of the times that centered on religious frescos in churches or public buildings. One of the accomplished women artist was Artemisia Gentileschi‚ the daughter of a well-known artist Orazio known for his
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“The compulsion to identify Artemisia herself in every woman’s face she painted‚ despite the lack of consistence amoung the faces in these images‚ may well be influenced by genered preconceptions.” Page 1 “A related gender stereotype‚ female narcissism‚ lurks behind the suggestion that the young Artemisia‚ locked in a claustrophobic Roman household‚ became obsessed with her own features and painted them repeatedly.” page 12 The Artemisia Files: Artemisia Gentileschi for Feminists and Other Thinking
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The elephant in the Art room The mother the other Addressing the elephant in the Art room Linda Nochlin posed the question in her 1971 article “Why Have There Been No Great Women Artists? Arguing it was necessary to question “the unstated domination of white male subjectivity” that shaped the art historical canon; the article explored the reasons for the severe asymmetry of female to male artists throughout the course of art history. When examining western art as viewed through the canon one must
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