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Girolamo Forabosco (1605-1679) Portrait of a Lady in a Grey Dress with Fur
Wednesday, November 30, 2016
Women by Girolamo Forabosco 1605-1679 including the murder of Holofernes by Judith
Girolamo Forabosco (1605-1679) painted women in allegorical history settings, but most of these women were his contemporaries. They reflect his society. Elaborate hair & elegant costumes plus a mirror. He was active in Padua & Venice, where he was enrolled in the Fraglia dei Pittori between 1634 & 1639 & paid taxes from 1640 to 1644.
Girolamo Forabosco (1605-1679) Lady with a Dog
Girolamo Forabosco (1605-1679) Portrait of a Venetian 1659
Girolamo Forabosco (1605-1679) Portrait of a Courtesan
Girolamo Forabosco (1605-1679) Judith with the head of Holofernes
Girolamo Forabosco (1605-1679) Portrait of a Courtesan
Girolamo Forabosco (1605-1679) Portrait of a Woman
Girolamo Forabosco (1605-1679) Vanitas
Girolamo Forabosco (1605-1679) Venetian Wife
Girolamo Forabosco (1605-1679) Courtesan
Girolamo Forabosco (1605-1679) Courtesan
Girolamo Forabosco (1605-1679) Story of Joseph & Potiphar's Wife
Girolamo Forabosco (1605-1679) Portrait of a Woman Half Length
Girolamo Forabosco (1605-1679) Ragazza Allo Specchio
Girolamo Forabosco (1605-1679) Portrait of a Lady
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Girolamo Forabosco (1605-1679) Portrait of a Lady in a Grey Dress with Fur
Girolamo Forabosco (1605-1679) Portrait of a Lady in a Grey Dress with Fur
Women Artist - Women by Artemisia Gentileschi 1593–1652 including the murder of Holofernes by Judith
Artemisia Gentileschi 1593–1652 was an Italian Early Baroque painter, influenced by Caravaggio. She was the 1st female painter to become a member of the Accademia di Arte del Disegno in Florence.
Artemisia painted pictures of strong, suffering women from myth & the Bible - victims, suicides, warriors. She was especially drawn to the biblical stories of Judith beheading Holofernes story & to the sexual assault of Susanna.
Artemisia was born in Rome, the eldest child of the Tuscan painter Orazio Gentileschi. She learned painting under her father, whose style took inspiration from Caravaggio during that period, but her approach to subject matter was realistic & natural, where Orazio's were idealized.
Susanna & the Elders was one of the earliest works of 17-year-old Artemisia, depicting the sexual assault of the two Elders as a traumatic event. Artemisia was herself assaulted sexually, although it was after the completion of this painting.
In 1612, her father was working with Agostino Tassi to decorate the vaults of Casino della Rose inside the Pallavicini Rospigliosi Palace in Rome. Orazio hired the painter to tutor his daughter privately. During this tutelage, Tassi raped Artemisia. Another man, Cosimo Quorlis helped Tassi with the rape.
After the initial rape, Artemisia continued to have sexual relations with Tassi, believing that they were going to be married. However, Tassi reneged on his promise to marry Artemisia; after he claimed that he heard a rumour, that she was having an affair with another man.
The livid father Orazio pressed charges against Tassi, when he learned that Artemisia & Tassi were not going to be married. Orazio also claimed that Tassi stole a painting of Judith from the Gentileschi household. The major issue of the trial was the initial rape of Artemisia. If Artemisia had not been a virgin before Tassi raped her, the Gentileschis would not have been able to press charges.
In the ensuing 7-month trial, it was discovered that Tassi also had planned to murder his wife, had committed adultery with his sister-in-law, & had planned to steal some of Orazio’s paintings.
During the trial, Artemisia was given a gynecological examination & was tortured using thumbscrews. But the young artist finally won the court case. At the end of the trial Tassi was sentenced to imprisonment for 1 year, although he never served the time.
One month after the trial, Orazio hastily arranged for his daughter to marry Pierantonio Stiattesi, a modest artist from Florence. Shortly afterwards the couple moved to Florence, where Artemisia received a commission for a painting at Casa Buonarroti & became a successful court painter, enjoying the patronage of the Medici family and Charles I.
While in Florence, Artemisia & Pierantonio had four sons & one daughter. But only the daughter, Prudenzia, survived to adulthood. During the 1620s she also worked in Genoa and Venice; but by 1630, she settled in Naples, where she remained for the rest of her life, except for a brief excursion to London.
Well over 35 extant paintings are attributed to Artemisia, but it is difficult to sort out which are actually hers. Her most powerful paintings are of vulnerable but strong women, and these are examples of those.
Woman Artist - Fede Galizia 1578-1630 including the murder of Holofernes by Judith
Fede Galizia (1578 – 1630) was an Italian Renaissance painter, a pioneer of the still life genre. Known as Galizia, she was born in Milan. Her father, artist Nunzio Galizia, also a painter of miniatures, had moved to Milan from Trento.
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Fede Galizia (Italian painter, 1578-1630), Judith with the Head of Holofernes
Fede learned to paint from her father. By the age of 12, she was sufficiently accomplished as an artist to be mentioned by Gian Paolo Lomazzo, a painter & art theorist friend of her father, who wrote, "This girl dedicates herself to imitate our most extraordinary art."
Fede Galizia (Italian painter, 1578-1630), Still Life
Although she reportedly composed other versions of "Judith with the Head of Holofernes," Galizia is best-known today for her pioneering still-life paintings — simple, elegant compositions featuring form and color rather than showy displays of wealth. Some of the most highly skilled practitioners of still-life painting in Italy during this period were women, whose gender usually excluded them from painting grander subjects, such as histories & allegories.
Fede Galizia (Italian painter, 1578-1630), Still Life
Fede Galizia (Italian painter, 1578-1630), Maiolica Basket of Fruit, 1610s.
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Fede Galizia (Italian painter, 1578-1630), Judith with the Head of HolofernesFede learned to paint from her father. By the age of 12, she was sufficiently accomplished as an artist to be mentioned by Gian Paolo Lomazzo, a painter & art theorist friend of her father, who wrote, "This girl dedicates herself to imitate our most extraordinary art."
Fede Galizia (Italian painter, 1578-1630), Still LifeAlthough she reportedly composed other versions of "Judith with the Head of Holofernes," Galizia is best-known today for her pioneering still-life paintings — simple, elegant compositions featuring form and color rather than showy displays of wealth. Some of the most highly skilled practitioners of still-life painting in Italy during this period were women, whose gender usually excluded them from painting grander subjects, such as histories & allegories.
Fede Galizia (Italian painter, 1578-1630), Still Life
Women by Orazio Lomi Gentileschi Italian artist, 1563–1639 including the murder of Holofernes by Judith
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Women by Titian Tiziano Vercelli (1488- 1576) including the murder of Holofernes by Judith
Titian Tiziano Vercelli (Italian painter, 1488-1576) Self Portrait with Friends
Tiziano Vecelli or Tiziano Vecellio (1488–1576) better known as Titian was an Italian painter, generally regarded as the most important member of the 16th-century Venetian school.
1536 Titian Tiziano Vercelli (Italian painter, 1488-1576) La Bella
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Titian Tiziano Vercelli (Italian painter, 1488-1576) Salome 1555-1560
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1555 Titian Tiziano Vercelli (Italian painter, 1488-1576) Woman in White
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1560 Titian Tiziano Vercelli (Italian painter, 1488-1576) Titian's Daughter Lavinia with a Feather Fan
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