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Dissertations / Theses on the topic 'Artemisia Gentileschi'

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Published: 4 June 2021
Last updated: 25 July 2025

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Whitney, Megan Leigh. "Happily We Are Only Women: An Investigation into the Lives and Works of Artemisia Gentileschi, Adélaïde Labille-Guiard, and Mary Cassatt." Thesis, The University of Arizona, 2012. http://hdl.handle.net/10150/271929.

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The lives of Artemisia Gentileschi, Adélaïde Labille-Guiard, and Mary Cassatt are distinct, varying greatly from one another. Yet, for all of their differences these artists have far more in common. Each negotiated social systems, ideologies, and institutions which were stacked against them, using only those resources immediately available. The professional careers, private lives, and artistic and social institutions which shaped these artists are discussed through a collection of paintings exemplifying their life and work. Influenced in part by tragedy and scandal early in life, great artists
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12

Genesio, Emanuela. "Peindre le récit et lire la peinture : rencontre entre Anna Banti, historienne de l'art et écrivain et Artemisia Gentileschi, femme peintre du XVIIe siècle." Paris 8, 2004. http://www.theses.fr/2004PA082372.

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Etude concernant l'ekphrasis, les citations de tableaux réels et fictifs et les descriptions picturales du roman Artemisia publié en 1947 par l'écrivain, historienne de l'art, critique littéraire et scénariste Anna Banti. Mise en parallèle entre ses écrits sur l'art et les textes célèbres de son mari Roberto Longhi. Analyse iconographique des tableaux d'Artemisia Gentileschi afin de repérer les récits biographiques mis en scène par la peinture caravagesque<br>A study concerning ekphrasis, citations of real and fictional paintings and pictural descriptions of Artemisia, novel published in 1947
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13

Beaudet, Pascale. "L'effet Judith : stéréotypes de la féminité et regard de la spectatrice sur les tableaux d'Artemisia Gentileschi." Rennes 2, 2001. http://www.theses.fr/2001REN20038.

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Artemisia Gentileschi est l'une de ces femmes artistes qui a failli disparaître de l'histoire de l'art. Un changement dans le goût ou une quelconque destruction complète des archives ne sont pas en cause ; c'est le système sexué (sex-gender system) qui sous-tend la discipline de l'histoire de l'art qui a contribué à son effacement. Le canon de l'histoire de l'art, parce qu'il est partie du système sexué, met les femmes artistes systématiquement à l'écart. Le cas de Gentileschi est exemplaire et subsume tous les autres cas dans la mise à l'écart des XIXe et XXe siècles. Il faudra attendre la de
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14

Genesio, Emanuela. "Peindre le récit et lire la peinture : rencontre entre Anna Banti, historienne de l'art et écrivain et Artemisia Gentileschi, femme peintre du XVIIe siècle /." [S.l. : s.n.], 2004. http://swbplus.bsz-bw.de/bsz273303325inh.pdf.

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15

BURZLAFF, MARY CAROLINE. "CHASTE SEXUAL WARRIOR, CIVIC HEROINE, AND FEMME FATALE: THREE VIEWS OF JUDITH IN ITALIAN RENAISSANCE AND BAROQUE ART." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1147989193.

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16

Philippon, Carole. "Le caravagisme à Naples : polymorphisme de la poétique caravagesque méridionale." Thesis, Montpellier 3, 2010. http://www.theses.fr/2010MON30083.

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Mon travail cherche à mettre en valeur la richesse de la Scuola Napoletana du XVIIème siècle (qui prend vie après les deux séjours du Caravage à Naples, entre 1606 et 1610). L'art napolitain est injustement sous-estimé ; la première moitié du Seicento est pourtant extrêmement importante puisque Naples est le seul centre artistique qui continue à considérer le caravagisme comme une force vitale de la peinture, et ce jusqu'en 1656 (année de la Grande Pestequi emporte avec elle les derniers peintres d'"origine" caravagesque). Je mets donc en exergue la période méridionale du Caravage (qui est tro
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17

Grundy, Susan Audrey. "Artemisia Gentileschi and Caravaggio's looking glass." Diss., 2004. http://hdl.handle.net/10500/2987.

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Artemisia Gentileschi and Caravaggio's Looking Glass is an ironic allusion to both the concave mirror and the biconvex lens. It was these simple objects, in colloquial terms a shaving mirror and a magnifying glass, which Artemisia Gentileschi and her father Orazio, learned from Caravaggio how to use to enhance the natural phenomenon of the camera obscura effect. Painting from a projection meant that Artemisia could achieve an extreme form of realism and detail in her work. This knowledge, which was of necessity kept hidden, spooked the Inquisition and also gave artists, who knew how to
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18

Roy-Marcoux, Jerome. "Orazio and Artemisia Gentileschi : father and daughter painters in Baroque Italy : réception critique d'un jumelage expositionnel." Thèse, 2010. http://hdl.handle.net/1866/4649.

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L’exposition Orazio and Artemisia Gentileschi : Father and Daughter Painters in Baroque Italy se tint au Metropolitan Museum of Art à New York du 14 février au 12 mai 2002. De tout ce qui fut écrit en lien avec cet événement, il ressort deux tendances principales. Tandis que certains clament la prééminence d’Orazio Gentileschi sur sa fille en se basant sur le message véhiculé tant dans l’exposition que dans son catalogue, d’autres, rassemblés autour des féministes, remettent en question cette vision en relevant les partis-pris culturels jouant en défaveur des femmes. Le jumelage expositionne
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19

Ratelle-Montemiglio, Catherine. "Femmes et violences dans les œuvres d'Artemisia Gentileschi et d'Elisabetta Sirani." Mémoire, 2013. http://www.archipel.uqam.ca/5736/1/M13141.pdf.

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Ce travail de recherche porte principalement sur l'analyse d'un corpus d'œuvres d'Artemisia Gentileschi et d'Elisabetta Sirani autour de la thématique des « femmes violentes ». Ces deux artistes italiennes ayant pratiqué la peinture au XVIIe siècle comptent parmi les premières femmes à s'être illustrées dans la représentation de sujets issus de l'histoire biblique et parfois même antique, un genre artistique dominé par leurs collègues masculins. En effet, les récits qu'elles interprètent sont parfois issus de la Bible, comme ceux de Judith ou Yaël, ou encore de l'histoire antique, dans les cas
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20

Santos, Maria João Gonçalves Reis Leitão Galvão. "As mulheres nas pinturas de Josefa de Ayala e Artemisia Gentileschi : a nudez, o vestuário e os tecidos como instrumentos da sensualidade barroca." Master's thesis, 2007. http://hdl.handle.net/10400.2/4483.

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Dissertação de Mestrado em Estudos sobre as Mulheres apresentada à Universidade Aberta<br>Esta Dissertação tem por objectivo proceder ao estudo da representação das mulheres e da sensualidade feminina num conjunto de obras pictóricas da autoria de duas pintoras do século XVII: Josefa de Ayala e Artemisia Gentileschi. Trata-se de analisar e comparar o tratamento conferido e imprimido pelas pintoras aos corpos, ao vestuário e aos tecidos patentes num conjunto bem delimitado de obras pictóricas. O século XVII é marcado pelo reforço e endurecimento do papel da Igreja saída do Concílio de Tr
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