The Art of Artemisia Gentileschi

Artemisia Gentileschi (1593 – 1656) was a female Italian Baroque painter in a time when women were not accepted as artists, and most were certainly not allowed to paint unless they lived in an Abbey. Today she is considered one of the most accomplished painters in the generation of artists who came after Caravaggio and is well known for painting courageous or strong-minded women from mythology.

(Gentileschi, Artemisia. Judith and Her Maidservant with the Head of Holofernes. c. 1625. oil on canvas. Detroit Institute of Arts.)

Gentileschi was born in Rome, her mother passed away when she was twelve. Her grieving father then unexpectedly took her on as his apprentice and taught her how to paint like a master. She was the daughter of Orazio Gentileschi, an accomplished painter, and talented artist. He introduced her to the famous artists of Rome of the time, including the infamous Caravaggio with whom he was close friends. Caravaggio casually stopped by their home to borrow props and perhaps even encouraged her to paint.

(Gentileschi, Artemisia. Self Portrait. c. 1638. oil on canvas. Royal Collection, Windsor.)

In 1611 when Artemisia was 18 years old, Agostino Tassi an artist, who worked with her father unfortunately secluded and raped her. When her father found out, he demanded justice and filed formal charges against Tassi for the injury and damage to his daughter's honor.

(Gentileschi, Artemisia. Judith Beheading Holofernes. c. 1611-12. oil on canvas. Museo Nationale di Capodimonte, Naples.)

The trial was horrendous and lasted over seventeen months Artemisia was physically tortured publicly in the courtroom to recant her statement and test the truth of her accusations with counter-accusations from Tassi that she was not a virgin, a whore, and a talentless painter. 

Tassi was finally convicted and sentenced to prison for the rape, but only served less than one year because he had connections with the pope.

(Gentileschi, Artemisia. Judith and her Maidservant. c. 1612-1613. oil on canvas. Galleria Palatina, Florence.)

During the trial and after, Gentileschi began to design and paint the story of Judith slaying Holofernes from the Bible. Judith was already a popular subject matter of the time, but Gentileschi’s portrayal of Judith is both original and has a unique perspective.

(Gentileschi, Artemisia. Penitent Magdalene. c. 1630. oil on canvas.)

Artemisia's style is characterized by "tenebrism," from the Italian word "tenebroso" (dark or gloomy), which describes a painting style where dark colors dominate over the light ones or the extreme contrasts of light and dark areas have dramatic illumination. 

(Gentileschi, Artemisia. Yael and Sisara. c. 1620. oil on canvas. Budapest, Szepmuveszeti Museum.)

In 1614, Gentileschi became the first official female member of the Academy of Fine Arts in Florence, which was only made possible by her most famous patron, the Grand Duke Cosimo II of the Medici family. Artemisia’s unusual liberties combined with her traumatic experience, allowed her to create some of the best chiaroscuro paintings of that time, and her work is much appreciated here!

Enjoy! :)

References 

• King, R. Art. New York: DK Publishing. 2008.
  

The Art of Sir Peter Lely

Sir Peter Lely (1618 – 1680) was born into a Dutch family that was living in Germany and was originally named Pieter van der Faes. He trained in Haarlem, but in the 1640s he moved to England, where he spent most of his working life.

 
(Lely, Sir Peter. Diane Kirke, later Countess of Oxford.
c. 1665. oil on canvas.
Yale Center for British Art, New Haven, Connecticut, US.)

His early English paintings were mainly mythological or religious scenes and his portraits were set in a pastoral landscape that shows the influence of Anthony van Dyck as well as the Dutch Baroque period. After the deaths of Anthony van Dyck and William Dobson, Lely became England's leading portrait painter.

 
(Lely, Sir Peter. John Wilmot, 2nd Earl of Rochester.
c. 1647. oil on canvas.)

Lely was made principal painter to the king in 1661 and he was naturalized in 1662. Lely painted a range of sitters, among them Charles I and Oliver Cromwell, but it is as the image-maker of the Restoration court of Charles II that he is best remembered. He lived in grand style and amassed a magnificent collection of art, although was only knighted just months before he died.

 
(Lely, Sir Peter. Mary Moll Davis.
c. 1662. oil on canvas.)

The demand for his work was high, Lely and his large workshop were prolific. After Lely painted a sitter's head, Lely's assistants and pupils would often complete the portrait in one of a series of numbered poses. Lely’s female subjects all have the signature "Lely’s eyes", which gave many of his sitters a similar look. As a result, Lely is the first English painter to have left an enormous mass of work, although the quality of his studio pieces is variable.

 
(Lely, Sir Peter. Portrait of a Young Lady & Child as Venus & Cupid.
c. 1664. oil on canvas.)

Lely is now regarded as a leading artist of the English Restoration. He was a master colorist and his style was best manifested in exquisite draperies of his subjects. His portraiture always flattered the sitters. The ‘Windsor Beauties’, a series of painted ladies at Hampton Court, show voluptuous and dreamy figures while the ‘Flagmen of Lowestoft’, display his talent in portraying characters at their best. His female portraits are absolutely exquisite and his work is much appreciated here! 

Enjoy :) 

Reference: King, R. Art. New York: DK Publishing, 2008.