All Artemisia Gentileschi 's Paintings
The Painting Names Are Sorted From A to Z
Oil On Canvas, Real Flavor of Old Masters
Choice ID Image  Painting (From A to Z)       Details 
83467 Allegory of Painting  Allegory of Painting   Oil on canvas, 965 x 737 mm (39 x 29"). cyf
83084 Artemisia  Artemisia   Date 1620 cyf
78175 ArtemisiaSelfP  ArtemisiaSelfP   Oil on canvas, 96,5 x 73,7 cm cyf
1385 Judith and Holofernes 333  Judith and Holofernes 333   c1620 Galleria degli Uffizi, Florence
56052 judith beheading holofernes  judith beheading holofernes   mk247 1620,oil on canvas,78.375x64 in,199x162.5 cm,uffizi,florence,ltaly
73848 Judith Maidservant DIA  Judith Maidservant DIA   Artemisia Gentileschi Judith Maidservant DIA cyf
82396 Maria Maddalena  Maria Maddalena   1616(1616) Medium Oil on canvas cyf
88036 Portrait of a Condottiero  Portrait of a Condottiero   1622 Medium Oil on canvas cyf
79240 Self portrait  Self portrait   1615-1617 Medium Oil Dimensions 30 x 28 cm (11.8 x 11 in) cyf
24075 Self-Portrait as the Allegory of Painting (mk25)  Self-Portrait as the Allegory of Painting (mk25)   c 1630
53783 Sjalvportratt as allegory over maleriet  Sjalvportratt as allegory over maleriet   mk234 1630-first century 97x74cm
78372 Sleeping Venus  Sleeping Venus   Oil on canvas, 37 x 56.75 in Date 1625-30 cyf
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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