Arte Gentileschi

George Gower.  Elizabeth I of England.  c. 1588.
http://en.wikipedia.org/wiki/Image:Elizabeth_I_%28Armada_Portrait%29.jpg

Kate Blanchett as Elizabeth in 1998
http://images.rottentomatoes.com/images/movie/gallery/1084153/photo_01.jpg

"I would rather be a beggar and single than a queen and married. " - Queen Elizabeth I

 
Book Pages 6 - 10 Due
Reminder: Learning Community #2 on Wednesday. Bring your questions!!

 

 

 

 

 

 

 

 

 

 

Elisabetta Sirani
1638 - 1665

 

Virgin and Child

Elisabetta Sirani. Virgin and Child. 1663.
Sterling, Susan Fisher. Women Artists: The National Museum of Women in the Arts. New York: Tiny Folios, 1995.

 

 

 

 

 

 

 

 

 

 

 

Portia Wounding Her Thigh

Elisabetta Sirani. Portia Wounding Her Thigh. 1664.
http://3.bp.blogspot.com/_y1PIKCNbIm0/SceMn-r2xXI/AAAAAAAAAM0/76BeXHOQOg0/s
1600-h/1664+Elisabetta+Sirani,+Portia+Wounding+Her+Thigh.jpg

 

 

 

 

 

 

 

 

 

 

 

Lincoln's Catafalque

President Lincoln's Catafalque
http://www.sonofthesouth.net/leefoundation/civil-war/1865/April/president-lincoln-catafalque.jpg

 

catafalque = an ornamental structure used in funerals for the lying in state of the body

 

 

 

 

 

 

 

 

 

 

Baroque period
end of the 16th century - 1750

The Last Supper

Tintoretto (and his daughter Marietta?). The Last Supper. 1592 - 94.
Stokstad, Marilyn. Art History. Revised Second ed. Vol. 2. New York: Prentice Hall Inc., and Harry N. Abrams Inc., 2005.

 
Characteristics of the Baroque Style:
Interest in light and space
Rich use of color and dramatic contrasts
Innovative illusionism
More emphasis on emotion than reason
Multi-media sensory overload
 

 

 

 

 

 

 

 

 

 

 

Artemisia Gentileschi
1593 - 1653

 

Artemisia Gentileschi. Susanna and the Elders. 1610.
Cumming, Robert. Great Artists. New York: Dorling Kindersley Limited, 1998.

 

 

 

 

 

 

 

 

 

 
How Artemisia departs from tradition
in her image of Susanna:
  

Artemisia Gentileschi.
Susanna and the Elders. 1610.
Cumming, Robert. Great Artists. New York:
Dorling Kindersley Limited, 1998.
Removes Susanna from the garden
Tintoretto's
Bathing Susanna
1560 - 1562
Presents Susanna as unwillingly exposed rather than allow viewer to gaze upon her with voyeuristic freedom
Portrays Susanna as disgusted and horrified
by the advances rather than as a seductress
Allori's
Susanna
before 1607
Susanna is placed center and near the bottom edge so that viewer relates with her more than the other figures
Lotto's
Susanna
1517
Composition implies third spectator, implicating the viewer
Rembrandt's
Susanna
1647

 

 

 

 

 

 

 

 

 

 

Judith and Maidservant
Judith and Maidservant
Orazio Gentileschi. Judith and Maidservant. c. 1608 - 09.
http://www.aiwaz.net/panopticon/judith-and-her-maidservant/gi5098c537

Artemisia Gentileschi. Judith and Maidservant. 1612 - 13.
http://picasaweb.google.com/lh/photo/eI-3Prp4wO0wNzeEVMOdAQ

 

 

 

 

 

 

 

 

 

 

Embarcation

Agostino Tassi.  The Embarkation of a Queen. c. 1615.
http://gallery.euroweb.hu/html/t/tassi/1embarka.html

 

more on the Artemisia movie and the trial