It is still difficult to believe such competent and successful female printer exist in the early 17th Century (the Baroque era). In the last month I have read a lot about her until such that I feel I know the person and I can say something about her.   She was rape by her teacher at the age of 18. Because of that much had been written about her from the feminist point of view, which I think is a mistake. It really does her a dis-service and took away her artistic achievements. We should stick to facts and evidences rather than the speculations of how the her mental state. It is stupid to psychoanalyse someone who live centuries ago without basis.   There are several points that stood out about Artemisia   She was very successful, her patronage include the royalties of England, France and the Medici. She worked in many cities. She would be successful even by today’s standard. Her paintings lack the ‘female’ touch. It is indeed difficult to tell from looking at the painting alone that they were painted by a woman. Her attention to details and gestures shows that she was a thinking artist. This can be demonstrated by the two versions of Judith Slaying Hologernes. She likes strong colours particularly golden yellow and beautiful dresses. Her family relationship with her father and children were good. She liked the company of men and had many lovers.   I think, her paintings were the equivalent of a fast action movie of today, full of movements and a bit of sex and violence on the side.

1. First created 18 July 2014. Version 1.0 - 28 Aug 2011. Jerry Tse. London.
Artemisia
Gentileschi
All rights reserved. Rights belong to their respective owners. Available
free for non-commercial , educational and personal use.
The Most Acclaimed Female Painter
1593-1653
“The only woman in Italy
who ever knew about painting,
colour, impasto and other
essentials”
Reberto Longhi, an Italian art
historian. 1916.

2. Caravaggio
Caravaggio is an extraordinary painter with an equally
controversial life. He was a violent man by nature and a known
killer. During the end of the 16C and the beginning of the 17C.
Caravaggio was the most influential artist of Italy, as well as
Europe.
“Caravaggio’s innovation was a radical naturalism that combined
close physical observation with a dramatic, even theatrical, use of
chiaorscuro …, the shifting from light to dark with little
intermediate value [strong contrast]” Wikipedia. Typically his
paintings have a black background with a strong directional light
source.
Violence, naturalism and chiaoscuro are the three main features of
Caravaggio. Portrait of Caravaggio (Detail) by Ottavio Leoni.
Head of Medusa. c1598. Head of Goliath. 1609.Head of Goliath. 1607Head of Holofernes. c1598.
1572-1610

3. Caravaggio

4. One of Caravaggio’s favourite biblical subject is the beheading of Holofernes by Judith. c1598. Galleria Nazionale d’Arte Rome.
Caravaggio

5. Artists who followed Caravaggio are called Caravaggisti. Here are a few of
them who were influenced by his styles and subject matters.

6. Portrait of Artemisia
A portrait of Artemisia at work painted
by her friend, the well-known Simon
Vouet, also a Caravaggisti. It showed
Artemisia at thirty something.
Artemisia Gentileschi, also known as
Artemisia Lomi was a successful
professional female artist in the history
of European painting.
She received commissions from the
kings of France, Spain, England and the
patronage of the Medici. She was in
good relations with most famous
painters of her days and accepted into
the Florence professional artist guild.
She was born into an artist family. Her
father, Orazio was also a painter and a
Caravaggisti. She lost her mother at the
age of 12 and was taught by her father
how to paint.

7. Artemisia came from a long line of artists. Her father Orazio and her were
successful professional artists.

8. The Lomi Brothers - Baccio
Baccio Lomi was the
least talented. He spent
most of his time as
working to other master
painters, who assigned
him to copy others work.
He painted mostly
religious subjects.

9. The Lomi Brothers - Aurelio
Aurelio Lomi, Artemisia’s uncle was
more successful and has been given
the title “maestro”. He even had a
workshop. He was commissioned to
produce paintings for several
churches, mainly in Tuscany. He had
offices in Florence, Pisa and Genoa.
His standing in Florence was probably
instrumental for admission of Artemisia
into the Accademia di Arte del Disegno,
The first professional woman painter
accepted by the academy.

10. The Lomi Brothers - Orazio
Orazio Gentileschi, Artemisia’s
father was a successful artists.
He was trained by his brother
Aurelio. They also worked
together in commissions.
He adopted the Caravaggio’s
style after 1600. He repainted
many of Caravaggio’s subjects.
Among the three Lomi brothers
Orazio was possibly the best.
Apart from his success in Rome,
he also worked in the court of
the grand duke of Pisa, the
French court and the English
court.

11. The Lomi Brothers
- Orazio

12. The Lomi Brothers - Orazio
Orazio Gentileschi had a
very close relationship
with his daughter
Artemisia. They worked
in many commissions
together and their styles
were similar.
Like many artists of his
day, he often painted
subjects by Caravaggio,
like Judith and
Holofernes.

13. Major periods in Artemisia’s life and her paintings. It is important to note that there are
considerable differences on the dating of Artemisia’s paintings, by different scholars.

14. Rome
1593 - 1614
The “earliest Roman period represent some
of the most daring undertakings of her
artistic life.” Judith W Mann.

15. On the right is the earliest painting by
Artemisia. There may have been other
paintings that she painted part of the canvas
before. This was painted the same time as
her father’s version (above). She painted
this at the young age of 15-16. Even at this
age her painting skill was competent and
showing great promise of a career in art.
Her father’s version painted in 1609 and Artemisia’s
version 1608-09.
Early Rome Period

16. Early Rome Period
This is an exceptional painting (left) of its time.
Artemisia painted this at the age of 17. Unlike
other paintings on Susanna and the Elders,
Artemisia showed a distressed Susanna being
pestered by the Elders as she twisted her body
away and put up her hands in a defensive
gesture. This compares with the usual
depiction of Susanna, like the painting by
Tintoretto above, with a display of her
nakedness.
Artemisia signed the painting, which probably
intended as an introduction to potential clients.
She was probably thinking of a professional
career in art.

17. The Rape
Artemisia was studying under Agostino Tassi,
who worked with Orazio on the ceiling fresco of
Palazzo Pallaincini Rospigliosi. Tassi raped
Artemisia (May 1611) and nine months later
Orazio accused Tassi of rape and stole a
painting from him. During the trial Artemisia
was subjected to thumbscrew torture to verify
her testimony. Later Tassi was found guilty and
was sentenced to imprisonment for a year.
In 1612, a month later after the trial, Orazio
arranged his daughter to marry the Florentine
artist, Pierantonio Stiattesi.
Artemisia’s works were a continuation of the
Caravaggisti movement. She lived a fairly
normal life, as a first class professional artist,
well connected with some of the best artists of
her days, as well as a good daughter and as a
good mother.
Many people have speculated how the rape had
affected Artemisia’s paintings. Such event must
had an effect on Artemisia but there were neither
document of how she felt nor any observation of
her mental state by others.
Artemisia?

18. Early Rome Period
This was a life-size painting. It was quite an undertaking for an 18 year old girl.

19. Rome 1593 - 1614
This is Danae a copy of the Cleopatra painting on a much smaller canvas.

20. Orazio c1621
Orazio’s version of Danae many years later.

21. Rome 1593 - 1614
This is believed to be the first version of
Artemisia’s Judith and Hologernes (right).
The most striking aspect of the painting is
the realism of the violence. Comparing this
with Caravaggio’s version (above), painted a
decade ago, Artemisia’s version was a more
creditable reconstruction, showing the two
women struggling to overpower Holofernes,
deep in the act of cut his head off. It is the
most violence image of the Judith’s story.
It was painted during Artemisia’s rape trial.

22. Major periods in Artemisia’s life and her paintings. It is important to note that there are
considerable differences on the dating of Artemisia’s paintings, by different scholars.

23. Florence
1614 - 1620
Artemisia had a huge success in Florence and launched herself
as a professional artist and her reputation was rising fast.

24. Florence 1614 - 1620
Artemisia had a huge success in Florence and launched herself
as a professional artist and her reputation was rising fast. It was
her most productive period.
Shortly after her marriage, Artemisia moved to Florence with her
husband. In 1618 she gave birth to a daughter and a few years
after a second daughter was born. Artemisia taught both of her
daughters to paint.
She won her first solo commission for the Casa Buonarroti (left).
She also enjoyed the patronage of the Medici family. Importantly
she was accepted into the Accademia delle Arti del Disegno, the
professional artist guild. She was the first female member. She
also maintained good relations with the most respected artists of
her time.
She arrived in Florence at the age of 21 and return to Rome at the
age 27.
Florence
1614 - 1620

25. Florence 1614 - 1620
This was painted not long after her arrival
in Florence. Artemisia gave birth to four
children in Florence. Only one survived to
adulthood.

26. Florence 1614 - 1620
Artemisia at the age of 24. She played
the lute and well verse in music.
Painted about the same time she had
her first child.

27. Florence 1614 - 1620
Artemisia liked strong colours for
costumes (red, blue and yellow). This
picture was probably commissioned by the
Medici as the back of the chair was covered
with pattern of the Medici balls, an emblem
of the House of Medici.

28. Florence 1614 - 1620
Artemisia was skilful in painting the
texture of fabrics, as by the
Maidservant head scarf. Also note
beautiful gilt woven dress, the hair
clasp, the teardrop pearl earrings, the
carved handle of the sword.
It is difficult to see the female touch in
Artemisia’s painting. The only clue if
any, is her depiction of the costumes
and jewels, which Artemisia was fond
of in real life.

29. Major periods in Artemisia’s life and her paintings. It is important to note that there are
considerable differences on the dating of Artemisia’s paintings, by different scholars.

30. Rome
1620 - 1627

31. Rome
1620 - 1627
Artemisia left Florence on 11 February
1620. In spite of her professional success,
she was pursued by creditors. Finally she
returned to Rome without her husband.
Financially, Rome was not so lucrative. She
began painting a series of portraits, clearly
showed her ability in portraiture.

32. Rome 1620 - 1627
The is the second version of Judith
beheading Holofernes, in the Uffizi.
It is a slightly larger version. This
was probably painted for Cosimo II
de Medici.
Artemisia often made replica of her
paintings for her patrons. She also
submitted drawings to potential
patrons. On occasion her drawings
were plagiarized by other minor
painters.
As this was her second attempt,
Artemisia was able to make some
improvements to the painting, apart
from the obvious differences in
clothing and colour. The
expressions on the two women were
slightly difference and the pressing
of the sword’s handle on the flesh of
Holefernes’ arm.

33. Comparison of the two Judiths
Note the Judith on the right with the blood stains on her beast & the dress; her apprehensive
expression; her bracket; her torso clearly visible. Some of the differences maybe due to the poorer
condition of the painting on the left.

34. Rome 1620 - 1627
Portrait of Caterina
Savelli? Magnificant
dress.

35. Rome 1620 - 1627
Another biblical heroine on the killing of Sisera.
Naples 1630 - 1638

36. Rome 1620 - 1627
Pietro Gentile as a Gonfaloniere or
standard bearer of the papal state.

37. Rome 1620 - 1627
A more passive version of Susanna and
the Elder, now at Burghley House.
The passiveness is very unusual for
Artemisia’s heroine. This call into
question the authenticity of the painting.
X-ray examination suggested the left side
of the painting had been re-worked.

38. Rome 1620 - 1627
Three versions of this painting exist.
This is the oldest. This is the one in
Detroit. This showed Judith and her
Maidservant checking to ensure
nobody saw them leaving the camp with
the severed head of Holofernes.
The painting was illuminated by a single
candle, with Judith holding up her hand
to block the glaring light.

39. Rome 1620 - 1627
A probable portrait of the military
engineer of Antoine de Ville.

40. Rome 1620 - 1627
In 1627 Artemisia moved to Venice.
Dating her paintings in this period is
problematic, without certainty. It is
thought that this was painted by
Artemisia when she was in Venice.

41. Major periods in Artemisia’s life and her paintings. It is important to note that there are
considerable differences on the dating of Artemisia’s paintings, by different scholars.

42. Naples
1630 – 38 / 1642 - 1656

43. Naples
1630 – 38 / 1642 - 1656
In 1630 Artemisia moved again, this
time to Naples. Apart from her 4-years
stay in London, reunited with his
father, Orazio, she lived in Naples for
the rest of her life.

44. Naples 1630 - 1638
Another biblical heroine, who saved the Jews, from the Persian King, in contempory costumes.

45. Naples 1630 - 1638

46. Naples 1630 - 1638
Another biblical story of Samson betrayed by Delilah.

47. Naples 1630 - 1638

48. Naples 1638 - 1642
This painting although attributed to
Artemisia is not particularly appealing.
The landscape background could well
have painted by someone else.

49. Naples 1642 - 1656
The story of Lucretia is part of the
legend on the founding of the
Roman Republic and it is not from
the Bible. Lucretia was raped by
the son of the tyrannical Etruscan
King. She extracted an oath from
her family members for a revenge
before killing herself to protect her
honour. An uprising followed and
the Roman republic was born.

50. Naples 1642 - 1656
Viewing Artemisia’s painting is like
watching an action movie today. It
always stirs up a sense of
excitements, packed with moving
actions and accompanied by the
occasional sexy scenes.
This later version of the painting is
now in Naples. It was painted some
20 years after the Detroit version. A
slightly smaller third version of this
painting is now in Cannes, France.

51. Naples 1642 - 1656
Meaningful gestures, attention to details, realistic observations packaged in chiaroscuro.

52. Naples 1642 - 1656
A late painting by Artemisia, still
using strong colours in her
paintings.

53. London 1638 – 1642

54. It is difficult to see the female style in Artemisia’s
paintings. If anything her paintings are more
masculine than most. After all she had created
the most violence images of Judith beheading
Holofernes ever.
However, there is a give away. Of the 50 or so
paintings attributed to Artemisia, many of these
paintings depicted strong female characters like
Esther, Judith, Salome and Jael. These are
extra-ordinary women of courage and
determination. (Artemisia never painted the
severed head of Goliath a popular painting
subject but he was killed by a man, David).
These women saw themselves as capable as
any man, perhaps that was also how Artemisia
saw it as well.
On the left is the only painting that we are
certain that Artemisia painted during her time
in London, (apart from the part of the ceiling
she painted at Marlborough House). It is a very
unusual self portrait looking from above.
London 1638 - 1642

56. Artemisia contemporaries
In Europe, we saw prosperity shifting from the south toward the northern European
countries. With it, we saw the rise of the Dutch Golden Age.

57. The rise of the Dutch Golden
Age & paintings in England.
In the second half of the 17th Century, Spain
declined. France rose to become the greatest
power in Continental Europe.
The economic centre of Europe had shifted
northward from the Mediterranean to the
Atlantic. Two of the countries benefited from
this trend were England and Holland. Arts
always follows where the money goes. During
this period we saw the rise of the Dutch
paintings. In England we saw the arrival of
Holbein the Younger, Van Dyck, Rubens, Orazio
Gentileschi and Artemisia.

58. All rights reserved. Rights belong to their respective owners.
Available free for non-commercial, Educational and personal use.
Music – Ludovic Einaudi, Lady Jane
Further readings - Artemisia Gentileschi published by 24 Ore Cultura by Roberto Contini and Franscsco Solinas, an exhibition catalogue.
Also Wikipedia on Artemisia Gentileschi.
The
End
Can you tell if it is written by a woman?