Artemisia Gentileschi

 Self - Portrait

Artemisia Gentileschi was born in Rome on 8 July 1593, the eldest child of the Tuscan painter Orazio Gentileschi. Artemisia was introduced to painting in her father's workshop, showing much more talent than her brothers, who worked alongside her. She learned drawing, how to mix color and how to paint. Since her father's style took inspiration from Caravaggio during that period, her style was just as heavily influenced in turn. But her approach to subject matter was different from her father's, as her paintings are highly naturalistic, where Orazio's are idealized.

 

(Biography from Wikipedia) The first work of the young 17-year-old Artemisia (even if many at the time suspected that she was helped by her father) was the Susanna e i Vecchioni (Susanna and the Elders) (1610, Schönborn collection in Pommersfelden). The picture shows how Artemisia assimilated the realism of Caravaggio without being indifferent to the language of the Bologna school (which had Annibale Carracci among its major artists). It is one of the few Susanna paintings showing the two men planning their sexual harassment. It is likely that Artemisia had been sexually harassed and painted Susanna as a reflection.


In 1612, despite her early talent, Artemisia was denied access to the all-male professional academies for art. At the time, her father was working with Agostino Tassi to decorate the vaults of Casino della Rose inside the Pallavicini Rospigliosi Palace in Rome, so Orazio hired the painter to tutor his daughter privately. During this tutelage, Tassi raped Artemisia. Another man, Cosimo Quorlis had helped Tassi with the rape. After the initial rape, Artemisia continued to have sexual relations with Tassi, with the expectation that they were going to be married. However, Tassi reneged on his promise to marry Artemisia after he heard the rumour that she was having an affair with another man. Quorlis had threatened that if he could not have her, he would publicly humiliate her. Orazio pressed charges against Tassi only after he learned that Artemisia and Tassi were not going to be married. Orazio also claimed that Tassi stole a painting of Judith from the Gentileschi household. The major issue of this trial was the fact that Tassi had deflowered Artemisia. If Artemisia had not been a virgin before Tassi raped her, the Gentileschis would not be able to press charges.

In the ensuing 7-month trial, it was discovered that Tassi had planned to murder his wife, had enjoined in adultery with his sister-in-law and planned to steal some of Orazio’s paintings. During the trial, Artemisia was given a gynecological examination and was tortured using thumbscrews. Both procedures were used to corroborate the truth of her allegation, the torture device used due to the belief that if a person can tell the same story under torture as without it, the story must be true^{[Citation Needed]}. At the end of the trial Tassi was imprisoned for one year. The trial has subsequently influenced the feminist view of Artemisia Gentileschi during the late 20th century.

The painting Giuditta che decapita Oloferne (Judith beheading Holofernes) (1612–1613), displayed in the Capodimonte Museum of Naples, is impressive for the violence portrayed.

One month after the trial, in order to restore her honour, Orazio arranged for his daughter to marry Pierantonio Stiattesi, a modest artist from Florence. Shortly afterwards the couple moved to Florence, where Artemisia received a commission for a painting at Casa Buonarroti and became a successful court painter, enjoying the patronage of the Medici family and Charles I. It has been proposed that during this period Artemisia also painted the Madonna col Bambino (The Virgin and Child), currently in the Spada Gallery, Rome.

While in Florence, Artemisia and Pierantonio had four sons and one daughter. But only the daughter, Prudenzia, survived to adulthood — following her mother's return to Rome in 1621 and later move to Naples. After her mother's death, Prudenzia slipped into obscurity and little is known of her subsequent life.

John Williams Waterhouse (6 April 1849 — 10 February 1917

John William Waterhouse (6 April 1849 — 10 February 1917) was an English Pre-Raphaelite painter who is most famous for his paintings of female characters from Greek and Arthurian mythology.
Waterhouse was one of the final Pre-Raphaelite artists, being most productive in the latter decades of the 19th century and early decades of the 20th, long after the era of the Pre-Raphaelite Brotherhood. Because of this, he has been referred to as "the modern Pre-Raphaelite", and incorporated techniques borrowed from the French Impressionists into his work (Read more at Wikipedia)

Art In The Middle Ages

In the Middle Ages, art mainly served the glorification of God and the idea of a better life in the afterworld. Numerous panels, statues and stained-glass paintings evoke a radiating world beyond, free of fear and misery.Art also served the personal salvation of the soul.  By means of generous donations, those who commissioned a work of art wished to secure their place in heaven, and all posthumous fame is owed to them. The artist was mostly an anonymous craftsman.

Art historians attempt to classify medieval art into major periods and styles, often with some difficulty. A generally accepted scheme includes Early Christian art, Migration Period art, Byzantine art, Insular art, Pre-Romanesque and Romanesque art, and Gothic art, as well as many other periods within these central styles. In addition each region, mostly during the period in the process of becoming nations or cultures, had its own distinct artistic style, such as Anglo-Saxon art or Norse art.

Byzantine monumental Church mosaics are one of the great achievements of medieval art. These are from Monreale in Sicily from the late 12th century.

Richard II presented to the Virgin and Child by his Patron Saint John the Baptist and Saints Edward and Edmund (The Wilton Diptych), about 1395-9

 St. Nicholas, vestry door from Friesach, ca. 1280
Photo: Universalmuseum Joanneum

Votive panel from St. Lambrecht, ca. 1430
Photo: Universalmuseum Joanneum

Altar-piece with crucifixion, from St. Lambrecht, ca. 1410
Photo: Universalmuseum Joanneum

 

 

Master of St. Martins´panel, St. Martin, dated 1518
Photo: Universalmuseum Joanneum

Lavinia Fontana

Lavinia Fontana was born in Bologna, the daughter of the painter Prospero Fontana, who was a prominent painter of the School of Bologna at the time and served as her teacher. Continuing the family business was typical at the time.
Lavinia Fontana, Minerva Dressing, 1613, Oil on canvas, Galleria Borghese, Rome.

Her earliest known work, " Monkey Child" , was painted in 1575 at the age of 23. Though this work is now lost, another early painting, Christ with the Symbols of the Passion, painted in 1576 is now in the El Paso Museum of Art.[1] She would go on to paint in a variety of genres. Early in her career, she was most famous for painting upper-class residents of her native Bologna. She began her commercial practice by painting small devotional paintings on copper, which had popular appeal as papal and diplomatic gifts, given the value and lustre of the metal.[1] She later created paintings of male and female nudes and large scale religious paintings.

Fontana married Paolo Zappi (alternately spelled Paolo Fappi) in 1577. She gave birth to 11 children, though only 3 outlived her. After marriage, Fontana continued to paint to support her family. Zappi took care of the household and served as painting assistant to his wife, including painting minor elements of paintings like draperies.

Fontana and her family moved to Rome in 1603 at the invitation of Pope Clement VIII. She gained the patronage of the Buoncompagni, of which Pope Gregory XIII was a member. Lavinia thrived in Rome as she had in Bologna and Pope Paul V himself was among her sitters.

Some of her portraits, often lavishly paid for, have been wrongly attributed to Guido Reni. Chief among these are Venus; The Virgin lifting a veil from the sleeping infant Christ; and the Queen of Sheba visiting Solomon. Her self-portrait – in youth she was said to have been very beautiful – was perhaps her masterpiece; it belongs to Count Zappi of Imola, the family into which Lavinia married.

While her youthful style was much like her father's, she gradually adopted the Carracciesque style, with strong quasi-Venetian coloring. She was elected into the Accademia di San Luca of Rome, and died in that city on August 11, 1614.

There are over 100 works that are documented, but only 32 signed and dated works are known today. There are 25 more that can be attributed to her, making hers the largest oeuvre for any female artist prior to 1700. Sofonisba Anguissola may have been an influence on her career.

Adélaïde Labille-Guiard

Adélaïde Labille-Guiard was first apprenticed to a miniaturist and later, in 1769, studied the art of pastel with Maurice Quentin de La Tour. The rich palette and fine detail in the present picture, one of the earliest of her major works in oils, reflect her earlier training. In 1783, when Labille-Guiard and Vigée Le Brun were admitted to the French Academy, the number of women artists eligible for membership was limited to four, and this painting, which was exhibited to an admiring audience at the Salon of 1785, has been interpreted as a propaganda piece, arguing for the place of women in the Academy. The artist's fashionable dress asserts her femininity; the feminist mood is emphasized by the presence of her pupils and the statue of the Vestal Virgin in the background. Labille-Guiard achieved a certain success at court and, having painted a number of portraits of the aunts of Louis XVI, came to be known as Peintre des Mesdames. However, she sympathized with the Revolution and, unlike Vigée Le Brun, remained in France throughout her life.

Source: Adélaïde Labille-Guiard. Self-Portrait with Two Pupils, Mademoiselle Marie Gabrielle Capet (1761–1818) and Mademoiselle Carreaux de Rosemond (died 1788) (53.225.5) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art

Claude Monet

  From artchive.com

"By his fellow painters Monet was regarded as a leader, not because he was the most intellectual or theoretically minded or because he was able to answer questions that they could not answer, but because in his art he seemed to be more alert to the possibilities latent in their common ideas, which he then developed in his work in a more radical way than did the others. Considering how all these painters developed their intensely personal manners with respect to the new artistic ideas, we may observe that the new elements appeared most often for the first time in the work of Monet and then were taken over by the other Impressionists, who incorporated them as suggestions or as definite means and applied them in their own ways.

"A clear example of Monet's influence can be noted in the change in Degas's art after the middle 1870s when his color began to approach that of the other Impressionists and he employed techniques, particularly in pastel, that gave to the whole a more granular, broken, and flickering effect - qualities not found in his earlier work. That is true also of Cézanne, Pissarro, and Renoir. Monet showed the way, even if the development of the others seemed to diverge from his.

Vincent Van Gogh

Vincent (Willem) Van Gogh generally considered the greatest Dutch painter after Rembrandt; he powerfully influenced the current of Expressionism in modern art. His work, all of it produced during a period of only 10 years, hauntingly conveys through its striking colour, coarse brushwork, and contoured forms the anguish of a mental illness that eventually resulted in suicide.

In February 1888 Vincent van Gogh settled at Arles, where he painted more than 200 canvases in 15 months. During this time he sold no pictures, was in poverty, and suffered recurrent nervous crisis with hallucinations and depression. He became enthusiastic for the idea of founding an artists' co-operative at Arles and towards the end of the year he was joined by Gauguin. But as a result of a quarrel between them Vincent van Gogh suffered the crisis in which occured the famous incident when he cut off his left ear (or part of it), an event commemorated in his Self-Portrait with Bandaged Ear

In May 1889 Vincent van Gogh went at his own request into an asylum at St Rémy, near Arles, but continued during the year he spent there a frenzied production of tumultuous pictures such as Starry Night (MOMA, New York). He did 150 paintings besides drawings in the course of this year. In 1889 Theo married and in May 1890 van Gogh moved to Auvers-sur-Oise to be near him, lodging with the patron and connoisseur Dr Paul Gachet. There followed another tremendous burst of strenuous activity and during the last 70 days of his life he painted 70 canvases. But his spiritual anguish and depression became more acute and on 29 July 1890 he died from the results of a self-inflicted bullet wound.

Paul Cezanne

Paul Cezanne

 Pyramid of Skulls

French painter, one of the greatest of the Postimpressionists, whose works and ideas were influential in the aesthetic development of many 20th-century artists and art movements, especially Cubism. Cezanne's art, misunderstood and discredited by the public during most of his life, grew out of Impressionism and eventually challenged all the conventional values of painting in the 19th century through its insistence on personal expression and on the integrity of the painting itself. He has been called the father of modern painting.

Even Cézanne's pictures of people can be regarded as still lifes, because he demanded that his models sit absolutely still. Sitting for him was something of a nightmare. Not only was he foul-tempered, he was an extremely slow painter, probably the reason his subjects always look tired and sombre. Ambroise Vollard, the dealer who arranged Cezanne's first one-man show a century ago, posed 115 times for a single painting, sitting absolutely still "like an apple" and then Cézanne, dissatisfied, abandoned the picture with only two unpainted spots remaining. He told Vollard that with luck he would find the correct color and could finish the painting. "The prospect of this made me tremble," noted Vollard in his biography of the painter. In the artist's eye, there was no difference between a human sitter and a bowl of fruit, except that the reflection value and the palette were different. In the end, both his subjects and his fruit wilted.