Relevant bibliographies by topics / Artemisia Gentileschi

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Artemisia Gentileschi'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 July 2025

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Journal articles on the topic "Artemisia Gentileschi"

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Even, Yael, and Mary D. Garrard. "Artemisia Gentileschi." Sixteenth Century Journal 25, no. 3 (1994): 745. http://dx.doi.org/10.2307/2542699.

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Stępnik, Małgorzata. "“Grand Narratives” and “Personal Dramas”: (Re)reading the Masterpieces by Artemisia Gentileschi." Arts 13, no. 2 (2024): 43. http://dx.doi.org/10.3390/arts13020043.

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This article discusses the œuvre of Artemisia Gentileschi, a prominent Baroque painter who was rediscovered by art historian Roberto Longhi in the 1910s. Today, her art is interpreted through various lenses, including art theory, women’s studies, and psychoanalysis. Gentileschi’s paintings are often “read” in close reference to her painful biography, with a focus on the “chiaroscuro” of trauma and its overcoming. Significantly, such biography-oriented approaches seem to be predominant in scholarship on art created by women. The argument presented is that Gentileschi’s works require a thorough
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Jiang, Weile. "Artemisia Gentileschi: Female Voices in 17th Century Art." Communications in Humanities Research 58, no. 1 (2025): 178–82. https://doi.org/10.54254/2753-7064/2025.22470.

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This article examines the groundbreaking contributions of 17th-century Italian painter Artemisia Gentileschi, who challenged contemporary gender stereotypes through her art. By infusing Baroque aesthetics with dynamic female subjectivity, Gentileschis oeuvre not only subverted traditional representations of femininity but also reinvigorated artistic conventions, contributing to a redefined portrayal of women in art. Employing an interdisciplinary framework, the analysis integrates gender studies, art history, visual culture, and postmodern theory. This approach elucidates her transformative im
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Ivanytska, Liliіa. "The plot and artistic embodiment of Artemisia Gentileschi's painting "Judith Beheading Olofernus" through the prism of the artist's life circumstances." Text and Image: Essential Problems in Art History, no. 1 (2024): 45–55. http://dx.doi.org/10.17721/2519-4801.2024.1.03.

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The article describes the early life of the Italian Baroque artist Artemisia Gentileschi. The main purpose of the study is to determine how the tragic circumstances of Artemisia's personal life influenced the formation and further artistic achievements of the young artist. In writing the article, the principles and methods of historical and anthropological research were used in combination with biographical, historical and comparative, iconographic, figurative, and stylistic methods. Among the historical and anthropological methods, the principle of anthropological interpretation and reduction
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ffolliott, Sheila, Keith Christiansen, and Judith W. Mann. "Orazio and Artemisia Gentileschi." Woman's Art Journal 24, no. 2 (2003): 53. http://dx.doi.org/10.2307/1358795.

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Classe, Sylvie. "Artemisia Gentileschi 1593-1652." Hegel N° 2, no. 2 (2020): 168. http://dx.doi.org/10.4267/2042/70805.

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DeTurk, Sabrina, Keith Christiansen, and Judith W. Mann. "Orazio and Artemisia Gentileschi." Sixteenth Century Journal 34, no. 1 (2003): 292. http://dx.doi.org/10.2307/20061403.

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Classe, Sylvie. "Artemisia Gentileschi 1593-1652." Hegel N° 2, no. 2 (2020): 168–73. http://dx.doi.org/10.3917/heg.102.0168.

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Buckley, Peter J. "Artemisia Gentileschi, 1593–1653." American Journal of Psychiatry 170, no. 8 (2013): 832–33. http://dx.doi.org/10.1176/appi.ajp.2012.12101313.

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Costa, Patrizia. "ARTEMISIA GENTILESCHI IN VENICE." Source: Notes in the History of Art 19, no. 3 (2000): 28–36. http://dx.doi.org/10.1086/sou.19.3.23206902.

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Dissertations / Theses on the topic "Artemisia Gentileschi"

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Fé, Rachel Nóbrega Santa. "Histórias possíveis : as narrativas sobre Artemisia Gentileschi." reponame:Repositório Institucional da UnB, 2014. http://repositorio.unb.br/handle/10482/17410.

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Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura, 2014.<br>Submitted by Ana Cristina Barbosa da Silva (annabds@hotmail.com) on 2014-12-15T19:16:18Z No. of bitstreams: 1 2014_RachelNobregaSantaFe.pdf: 1004021 bytes, checksum: bb8fd4f1eec17499c463c4fc47aa2eb3 (MD5)<br>Approved for entry into archive by Raquel Viana(raquelviana@bce.unb.br) on 2014-12-18T13:49:18Z (GMT) No. of bitstreams: 1 2014_RachelNobregaSantaFe.pdf: 1004021 bytes, checksum: bb8fd4f1eec17499c463c4fc47aa2eb3 (MD5)<br>
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Young, Brian Keith. "A re-evaluation of selected patingings by Artemisia Gentileschi." The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu1243025671.

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Young, Brian Keith. "A re-evaluation of selected paintings by Artemisia Gentileschi /." Connect to resource, 1996. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1243025671.

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Tedesco, Cristine. "Artemisia Gentileschi : trajetória, gênero e representações do feminino (1610-1654)." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2018. http://hdl.handle.net/10183/180573.

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La presente tesi di dottorato ha come obiettivo centrale quello di comprendere come la pittrice Artemisia Gentileschi (1593-1654) si è inserita ed ha svolto il suo lavoro in alcune delle città europee dove c’erano più finanziamenti per le arti plastiche, come Roma, Firenze, Venezia, Napoli, e Londra nella prima metà del XVII secolo, e quello di analizzare le varie costruzioni di sé e le rappresentazioni del femminile nelle sue corrispondenze epistolari e nella sua opera pittorica. A questo fine, saranno utilizzate fonti scritte, che ci permettono di indagare sulla traiettoria di vita di Artemi
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Bassetti, Edoardo. "Artemisia, icône de notre temps : une mythologie." Electronic Thesis or Diss., Sorbonne université, 2024. https://accesdistant.sorbonne-universite.fr/login?url=https://theses-intra.sorbonne-universite.fr/2024SORUL049.pdf.

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Cette thèse étudie la réception contemporaine et les œuvres de fiction inspirées par la peintre Artemisia Gentileschi (1593-1654ca), qui est devenue une icône au cours des dernières décennies, capable d'éveiller des tensions culturelles et d'induire des réactions de nature performative et identitaire. Conscient du fait que sa fortune actuelle ne peut être comprise à travers une approche uniquement « archéologique » ou « anachronique », mais qu'il est plutôt nécessaire d'alterner ces mouvements critiques comme dans l' « empreinte » de DIDI-HUBERMAN (2008), la structure de la thèse est divisée e
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LAGOARDE-SEGOT, FRANCOIS. "Un goitre dans un tableau : Judith et sa servante par Artemisia Gentileschi." Bordeaux 2, 1988. http://www.theses.fr/1988BOR25164.

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Silvers, Deborah Anderson. "Artemisia Gentileschi : The Heart of a Woman and the Soul of a Caesar." Scholar Commons, 2010. http://scholarcommons.usf.edu/etd/3588.

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Artemisia Gentileschi’s Susanna and the Elder’s trilogy consisting of her 1610, 1622 and 1649 paintings is a self referential series based on the artist’s own feelings of betrayal by the men in her life. These works are comprised of her first canvas showing youthful fear, and a very importantly timed work in mid-career symbolizing commercial success. In these, she relates the Apocryphal tale of Susanna and the Elders to events that are happening to Gentileschi at each stage of her life and career, aging the figures of Susanna and the Elders along with the appropriate time in her own life. In
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Seaman, Leah M. "The depiction of female emotion as seen through the work of Italian Renaissance artists Artemisia Gentileschi and Michelangelo Caravaggios Judith Beheading Holofernes and Artemisia Gentileschi and Cavaliere dArpinos Susanna and the Elders." Marietta College Honors Theses / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=marhonors161944857779248.

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Pyle, Sarah. "Interdisciplinary Approaches to Musical Portraiture of the Late Renaissance and Early Baroque: Reading Musical Portraits as Gendered Dialogues." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/18742.

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Sixteenth- and seventeenth-century portraits from the Italian peninsula that depict women with keyboard instruments have been discussed as an apparent trend by feminist art historians and musicologists. While the connection between these portraits and the well-known iconography of the musical St. Cecilia has been noted, the association between keyboard instruments and the female body has been less frequently explored. In this study, I use methodologies from feminist theory and gender studies, most notably gender performativity, in order to explore how an artist's dialogue between the portrait
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Tedesco, Cristine. "E non dite che dipingeva come un uomo : história e linguagem pictórica de Artemísia Lomi Gentileschi entre as décadas de 1610 e 1620 em Roma e Florença." Universidade Federal de Pelotas, 2013. http://repositorio.ufpel.edu.br/handle/ri/2145.

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Made available in DSpace on 2014-08-20T14:23:48Z (GMT). No. of bitstreams: 1 Cristine_Tedesco_Dissertacao.pdf: 5352495 bytes, checksum: 1ebfc27f56ccd3f024b5214c988d7fdf (MD5) Previous issue date: 2013-03-18<br>This research has as main objective understand the complex relation between the life and the work of Artemisia [Lomi] Gentileschi (1593 -1654). The study privileges the firsts years of the young painter‟s career, mainly in Rome and Florence. We selected two mainly types of sources for this work: written and imagetic. The analysis of the pictures was made at the same time we
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Books on the topic "Artemisia Gentileschi"

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Grassi, Alessandro. Artemisia Gentileschi. Pacini editore, 2017.

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Gentileschi, Artemisia, 1593-1652 or 1653, ed. Artemisia Gentileschi. Skira, 2016.

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Gentileschi, Artemisia, 1593-1652 or 3., ed. Artemisia Gentileschi. Rizzoli International Publications, 1993.

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Monica, Toraldo di Francia, and Magherini Graziella, eds. Artemisia Gentileschi: Nostra contemporanea = Artemisia Gentileschi : our contemporary. NICOMP LE, 2002.

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Gentileschi, Orazio. Orazio e Artemisia Gentileschi. Skira, 2001.

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Gentileschi, Artemisia, 1593-1652 or 1653, ed. Artemisia Gentileschi: 1593-1652. Giunti, 2021.

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Righi, Nadia, and Roberto Della Rocca. Artemisia Gentileschi: L'Adorazione dei Magi. Silvana editoriale, 2019.

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Roberto, Contini, Papi Gianni, Berti Luciano, et al., eds. Artemisia. Leonardo, 1991.

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Barker, Sheila. Artemisia Gentileschi in a changing light. Harvey Miller Publishers, 2017.

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Roma, Museo di, ed. Artemisia Gentileschi e il suo tempo. Skira, 2016.

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Book chapters on the topic "Artemisia Gentileschi"

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Ray, Meredith K. "Artemisia Gentileschi (1593–1656?)." In Twenty-Five Women Who Shaped the Italian Renaissance. Routledge, 2023. http://dx.doi.org/10.4324/9781003081807-23.

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Álvarez, Ana Rodríguez. "ARTEMISIA GENTILESCHI:." In Derecho y Arte. Dykinson, 2022. http://dx.doi.org/10.2307/j.ctv2zp4tgf.28.

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Gabrielle, Anna, and William Cane. "7 Artemisia Gentileschi." In Every Picture Hides a Story. Rowman & Littlefield Publishers, 2022. http://dx.doi.org/10.5771/9781538161371-69.

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Gasparotto, Davide. "Artemisia Gentileschi in Venice:." In Women Artists and Artisans in Venice and the Veneto, 1400-1750. Amsterdam University Press, 2024. http://dx.doi.org/10.2307/jj.19307133.11.

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Gasparotto, Davide. "Artemisia Gentileschi in Venice: Facts and Suppositions." In Women Artists and Artisans in Venice and the Veneto, 1400-1750. Amsterdam University Press, 2024. https://doi.org/10.5117/9789048559718_ch07.

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In the last twenty years our knowledge of the life and work of Artemisia Gentileschi (1593-ca. 1654), the most celebrated woman painter of the seventeenth century, has been considerably enhanced by new archival research and the discovery of new paintings. The Venetian period of the artist (about 1627-1630), however, remains one of the least known segments of her extraordinary career. The recent acquisition by the J. Paul Getty Museum in Los Angeles of a painting depicting Lucretia, the legendary Roman heroine, may help shed new light on Artemisia’s sojourn in Venice. This essay will explore ev
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"ARTEMISIA AND MARY MAGDALENE." In Artemisia Gentileschi around 1622. University of California Press, 2001. http://dx.doi.org/10.1525/9780520926806-008.

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"Brutality and Brilliance (Artemisia Gentileschi)." In The Lies of the Artists. The MIT Press, 2024. https://doi.org/10.7551/mitpress/15394.003.0014.

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"THE REAPPROPRIATION OF GENDERED MELANCHOLY." In Artemisia Gentileschi around 1622. University of California Press, 2001. http://dx.doi.org/10.1525/9780520926806-013.

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"PREFACE." In Artemisia Gentileschi around 1622. University of California Press, 2001. http://dx.doi.org/10.1525/9780520926806-003.

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"NOTES." In Artemisia Gentileschi around 1622. University of California Press, 2001. http://dx.doi.org/10.1525/9780520926806-021.

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Conference papers on the topic "Artemisia Gentileschi"

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Maldonado, Victoria. "Hilos, membranas y viscelaridad: los ecos de la informidad en el arte textil contemporáneo." In VI Congreso Internacional de Investigación en Artes Visuales ANIAV 2024. Editorial Universitat Politècnica de València, 2024. http://dx.doi.org/10.4995/aniav2024.2024.18028.

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El “eco” —tal y como nos muestra la física y nos define la RAE― es una onda electromagnética reflejada de tal modo que se percibe como distinta de la originalmente emitida. Si esta onda se tratara de Bataille hablando de lo informe o el poeta Artaud sobre la visceralidad, resultaría sorprendente cómo ha llegado a empapar este eco en algunas artistas contemporáneas que focalizan sus producciones artísticas en la escultura textil. Desde Dominique White y sus obras pertenecientes a la serie “Una especie de estela inquietante” (2019) donde un cuerpo de hilos se suspende por unos ganchos de acero g
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