It is still difficult to believe such competent and successful female printer exist in the early 17th Century (the Baroque era) 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. Artemisia
GentileschiThe Most Acclaimed Baroque Female Painter
“The only woman in Italy
who ever knew about painting,
colour, impasto and other
essentials”
Reberto Longhi, an Italian art
historian. 1916.
1593-1653
First created 18 July 2014. Version 2.0 - 24 Jan 2019. Daperro. London.

2. 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.

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

4. 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.

5. 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.

6. Orazio (Artemisia’s father)
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.

7. 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.
Orazio (Artemisia’s father)

8. 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.
Rome
1593 - 1614

9. On the right is the earliest known painting by
Artemisia. 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.
Rome Period (1593-1614)
The “earliest Roman period represent some of
the most daring undertakings of her artistic life.”
Judith W Mann.

10. 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.

11. The Rape (1611)
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?

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

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

14. 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.

15. 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.
Florence
1614 - 1620

16. 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.
Artemisia had a huge success in Florence and launched herself as a
professional artist and her reputation was rising fast.

17. Florence 1614 - 1620
Artemisia at the age
between 22-24. A recent
acquisition by the National
Gallery, London.

18. 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. This painting is very
similar to Artemisia self-portrait of St
Catherine (last slide).

19. 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.

20. 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.

21. 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.

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.
Rome
1620 - 1627

23. 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.
Florence 1620 - 1627

24. 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.

25. 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.

26. Rome 1620 - 1627
Portrait of Caterina
Savelli? What a
magnificant dress.

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

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

29. 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.

30. 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.

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

32. 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.

33. 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.
Naples
1630 – 38 / 1642 - 1656

34. 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.
Naples 1630 -38

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

36. Naples 1630 - 1638

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

38. Naples 1630 - 1638

39. Naples 1630 - 1638
Very little is known about this
painting. The dating was based on
Artemisia artistic style.

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

41. 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.

42. 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.

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

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

45. London 1638 – 1642

46. 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

48. 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.

49. All rights reserved. Rights belong to their respective owners.
Available free for non-commercial, Educational and personal use.
Music – Ludovic Einaudi, Lady Jane
The
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