Violence and Virtue: Artemisia Gentileschi's "Judith Slaying Holofernes" (Art Institute of Chicago) A comparative analysis between Gentileschi's masterpiece and other paintings by artists such as Michelangelo Merisi da Caravaggio, Sandro Botticelli, Cristofano Allori, an. In Violence and Virtue,
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| Title | : | Violence and Virtue: Artemisia Gentileschi's "Judith Slaying Holofernes" (Art Institute of Chicago) |
| Author | : | |
| Rating | : | 4.98 (955 Votes) |
| Asin | : | 0300186797 |
| Format Type | : | Paperback |
| Number of Pages | : | 40 Pages |
| Publish Date | : | 2013-11-12 |
| Genre | : |
Editorial : About the AuthorEve Straussman-Pflanzer is the Assistant Director of Curatorial Affairs/Senior Curator of Collections at the Davis Museum at Wellesley College, Wellesley, Massachusetts
Artemisia Gentileschi's uniquely powerful painting Judith Slaying Holofernes is a quintessential example of early Baroque art. In addition, this work, more than any other picture in her oeuvre, has come to define Gentileschi as an early modern woman and a superb Baroque painter, the first woman accepted into the renowned Accademia delle Arti del Disegno in Florence. In Violence and Virtue, Eve Straussman-Pflanzer explores the circumstances surrounding the creation of this extraordinary painting in Florence around 1620, and she examines the meanings conveyed by the image itself. Among other topics of investigation, the author addresses the role of women artists and patrons in the Florentine court of the early 17th century. She also considers the depiction of and fascination with violence during the Baroque era. A comparative analysis between Gentileschi's masterpiece and other paintings by artists such as Michelangelo Merisi da Caravaggio, Sandro Botticelli, Cristofano Allori, an
All of this is very ably discussed by the author, who mentions, but does not elaborate on, the psychological interpretations of the visceral violence of Artemisia's depiction as a precipitate of her notorious rape. Straussman-Pflanzer's essay, are post-facto, so to speak, presenting Judith "with the head of" Holofernes, and they are generally titled something to that effect. It is also up-to-date in considering some letters only recently revealed that cast a light on an unusual extra-marital arrangement that may have facilitated her career. Artemisia Gentileschi's painting "Judith Slaying Holofernes" (1620) is on loan from the Uffizi Gallery in Florence to The Art Institute of Chicago and on exhibit there from October 2013 to January 2014. Touching as it does on Artemisia's early reception of Carravagesque naturalism and placing her in the context of early modern European painting and the political environment of the Florentine court, it provides a succinct and informative background t
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