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Journal articles on the topic 'Artemisia Gentileschi'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Campbell, Erin J. ":Artemisia Gentileschi." Early Modern Women: An Interdisciplinary Journal 18, no. 1 (2023): 225–28. http://dx.doi.org/10.1086/725869.

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12

Martínez Silvente, María Jesús. "Lapierre, Alexandra: Artemisia." Boletín de Arte, no. 21 (July 3, 2019): 537–38. http://dx.doi.org/10.24310/bolarte.2000.v0i21.6540.

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La figura de Artemisia Gentileschi (1593-1653) -primera mujer pintora de incuestionable relevancia- ha permanecido injustamente alejada del estudio artístico y de la investigación hasta fechas bien recientes.

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13

Kline, Rachel. "Bravura in Blue: Ultramarine in the Works of Artemisia Gentileschi." Comitatus: A Journal of Medieval and Renaissance Studies 55, no. 1 (2024): 187–217. http://dx.doi.org/10.1353/cjm.2024.a941936.

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Abstract: This paper adopts materiality as an interpretive lens to explore the gendered resonances of ultramarine in the works of Baroque painter Artemisia Gentileschi. The history of ultramarine in early Italian devotional painting and the Renaissance theory of colore provide a contextual backdrop for investigating how Artemisia considered the significance of her materials in the competitive seventeenth-century art market. As a female artist, Artemisia was uniquely scrutinized by her male patrons and competitors and was therefore pressed to strategically craft her self-representation as a wom

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14

Mohacsy, Ildiko. "Artemisia Gentileschi and Her World." Journal of the American Academy of Psychoanalysis and Dynamic Psychiatry 32, no. 1 (2004): 153–76. http://dx.doi.org/10.1521/jaap.32.1.153.28330.

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15

Holwerda, Joslin. "Art in Early Modern Italy: Artemisia Gentileschi and Caravaggio." General: Brock University Undergraduate Journal of History 3 (December 18, 2018): 122–49. http://dx.doi.org/10.26522/gbuujh.v3i0.1673.

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This paper compares the careers of two internationally known painters from seventeenth century Rome, one male and one female, to further understand the broader gender relations of early modern Italy. Michelangelo Merisi da Caravaggio and Artemisia Gentileschi are individually known for being Italy’s greatest painters of the Baroque period. As artists, the professional challenges that they faced exemplified the dichotomy between genders in the early modern period. While Caravaggio’s controversial art style and violent lifestyle did not hinder his success, Gentileschi faced persistent apprehensi

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16

Banti (book author), Anna, Giuliana Sanguinetti Katz (book translator), Anne Urbancic (book translator), and Francesca Calamita (review author). "Artemisia Gentileschi: Trial at Savella Court." Quaderni d'italianistica 35, no. 1 (2015): 159–61. http://dx.doi.org/10.33137/q.i..v35i1.22363.

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17

Müller, Karin. "Artemisia Gentileschi et Séraphine de Senlis." Diplômées 264, no. 1 (2018): 83–92. http://dx.doi.org/10.3406/femdi.2018.10131.

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18

Barker, Sheila. "Artemisia Gentileschi e il suo tempo." Early Modern Women 12, no. 2 (2018): 163–71. http://dx.doi.org/10.1353/emw.2018.0014.

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19

Bissell, R. Ward. "ARTEMISIA GENTILESCHI: PAINTER OF STILL LIFES?" Source: Notes in the History of Art 32, no. 2 (2013): 27–34. http://dx.doi.org/10.1086/sou.32.2.23292909.

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20

Rivetti, Sonia. "L'arte del processo nella narrativa di Anna Banti." Incontri. Rivista europea di studi italiani 37, no. 2 (2024): 1–15. http://dx.doi.org/10.18352/inc18042.

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In 1947 Anna Banti published Artemisia. She decides to keep the events of the Gentileschi-Tassi trial out of this novel, reserving the right to deal with them in the theatrical adaptation of Artemisia (1959). Starting from this consideration, the essay investigates the other two narrative moments in which Banti makes us enter a court: Il bastardo (1953) and Insufficienza di prove (1975).

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21

Duran, Ayşe. "Kolektif Bilincin Dışına Çıkmak; Artemisia Gentileschi’nin Tablolarında Kadın İmgesinin Evrimi." Journal of Literature and Humanities, no. 72 (June 12, 2024): 19–35. http://dx.doi.org/10.55590/literatureandhumanities.1416637.

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Artemisia Gentileschi, 1593 yılında Roma’da dünyaya gelmiştir. Ressam olan babası Orazio Gentileschi’den resim dersleri alan sanatçı, Caravaggio’nun izinden giden (Caravaggist) ressamların en başarılısı olarak kabul edilmektedir. Artemisia Gentileschi yaklaşık kırk yıllık sanat yaşantısında kutsal metinlerden tarihi söylencelere, mitolojiden portre çalışmalarına kadar çok sayıda esere imza atmıştır. Eserlerinde seçtiği konularda, dinler tarihi, tarih ve mitolojik anlatılar ağırlıktadır. Artemisia’nın sanatı erken, olgunluk ve geç dönem olmak üzere üç evrede incelenebilir. Sanatçının erken döne

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22

Even, Yael, R. Ward Bissell, and Mary D. Garrard. "Artemisia Gentileschi and the Authority of Art." Woman's Art Journal 23, no. 1 (2002): 37. http://dx.doi.org/10.2307/1358966.

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23

Coppel-Batsch, Marthe. "Artemisia Gentileschi (1593-1653). sexualité, violence, peinture." Adolescence 64, no. 2 (2008): 365. http://dx.doi.org/10.3917/ado.064.0365.

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24

Locker, Jesse. "AN EIGHTEENTH-CENTURY BIOGRAPHY OF ARTEMISIA GENTILESCHI." Source: Notes in the History of Art 29, no. 2 (2010): 27–37. http://dx.doi.org/10.1086/sou.29.2.23208613.

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25

Christiansen, Keith. "Becoming Artemisia: Afterthoughts on the Gentileschi Exhibition." Metropolitan Museum Journal 39 (January 2004): 10–126. http://dx.doi.org/10.1086/met.39.40034603.

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26

Gámez Salas, José Miguel. "Artemisia Gentileschi: drama, venganza y feminismo en su obra / Artemisia Gentileschi: Drama, Revenge and Feminism in her Work." Asparkía. Investigació feminista, no. 34 (2019): 109–34. http://dx.doi.org/10.6035/asparkia.2019.34.6.

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27

Cui, Yanzhang. "Artemisia Gentileschi and Feminism in Early Modern Europe by Mary D. Garrard, and: Artemisia Gentileschi by Sheila Barker." Comitatus: A Journal of Medieval and Renaissance Studies 53, no. 1 (2022): 251–53. http://dx.doi.org/10.1353/cjm.2022.0017.

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28

Barceló Plana, Alba, and Roger Ferrer Ventosa. "De Artemisa a Artemisia. Representaciones de la amazona poderosa." Investigaciones Feministas 14, no. 1 (2023): 117–30. https://doi.org/10.5209/infe.84680.

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En las siguientes páginas se explora la representación de la mujer fuerte en el arte, quien, con actitud agresiva y armada, no duda en enfrentarse al hombre. Para establecer unos límites cronológicos y geográficos que acoten el estudio, se parte de la antigüedad grecorromana, pasando por la Edad Media, hasta llegar a la famosa obra de Judit y Holofernes de Artemisia Gentileschi. Se presenta, pues, un recorrido con distintos ejemplos que ilustran y configuran el discurso dentro de Europa occidental. Se pretende, por un lado, recoger las distintas mujeres —y también personificaciones con un fuer

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29

BYRNE, LOUIS. "THE ARTEMISIA FILES: ARTEMISIA GENTILESCHI FOR FEMINISTS AND OTHER THINKING PEOPLE." Art Book 13, no. 2 (2006): 33–35. http://dx.doi.org/10.1111/j.1467-8357.2006.00665.x.

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30

Silver, Ariel Clark. "Hands at Our Throats, Nails in Their Heads: The Holy Vengeance of Women in Hawthorne and Gentileschi." Nathaniel Hawthorne Review 49, no. 2 (2023): 177–99. http://dx.doi.org/10.5325/nathhawtrevi.49.2.0177.

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ABSTRACT Deeply informed by the work of Artemisia Gentileschi, Hawthorne wrestles with narratives of female vengeance found in canonical and deuterocanonical sources as he moves from his earlier romances to his final published oeuvre, The Marble Faun. His allusions to biblical women seeking retribution in The Blithedale Romance are magnified when he moves from transcendental New England to Catholic Italy. In the Book of Judith and the Book of Judges, female figures of holy vengeance wield weapons of righteous anger to redress the repeated violations they are forced to endure. When Hawthorne en

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31

Goncharova, O. M. "ANTHROPOLOGY OF VISUAL SELF-OBJECTIFICATION OF THE PAINTER (BASED ON WORKS BY ARTEMISIA GENTILESCHI)." Anthropological Measurements of Philosophical Research, no. 17 (June 29, 2020): 144–55. https://doi.org/10.15802/ampr.v0i17.206728.

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<strong>Purpose.</strong> Based on the anthropocentric approach to the analysis of visual self-presentations of Artemisia Gentileschi in paintings, to present the artwork as self-objectifications of the artist, which give rise to a new cultural reality and are at the same time a means of knowing the essence of man.<strong> Theoretical basis.</strong> The principles and methods of philosophical and anthropological research in combination with biographical, historical and comparative, iconographic, figurative and stylistic methods were used when writing the article. Among philosop

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32

Vígh, Éva. "Festőnők (ön)arcképei a 16–17. századi Itáliából." Közösségi Kapcsolódások - tanulmányok kultúráról és oktatásról 3 (September 11, 2023): 59–69. http://dx.doi.org/10.14232/kapocs.2023.ksz.59-69.

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Az esszé célkitűzése, hogy három festőnő, Sofonisba Anguissola, Lavinia Fontana, Artemisia Gentileschi (ön)arcképei segítségével vázoljam fel a reneszánsz és barokk kori nők érvényesülési és önkifejezési módjait a festészetben. A művelődéstörténeti vizsgálódások lehetséges útjai meglehetősen összetettek, így mozaikszerűen felidézett művészet-, irodalom-, társadalom-, és mentalitástörténeti utalásokkal kívántam az összefüggésekre rávilágítani.

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33

Spear, Richard E. "Artemisia Gentileschi: Ten Years of Fact and Fiction." Art Bulletin 82, no. 3 (2000): 568. http://dx.doi.org/10.2307/3051402.

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34

Harris, Ann Sutherland. ":Artemisia Gentileschi: The Language of Painting." Sixteenth Century Journal 47, no. 1 (2016): 274–76. http://dx.doi.org/10.1086/scj4701197.

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35

Rhodes, Elizabeth. ":Artemisia Gentileschi in a Changing Light." Sixteenth Century Journal 53, no. 2 (2022): 537–40. http://dx.doi.org/10.1086/scj5302129.

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36

Delis, Tina M. "“The Lord Struck Him Down by the Hand of a Female!” Baroque Artists Depicting Judith in the Renaissance." Journal of Mason Graduate Research 3, no. 3 (2016): 143. http://dx.doi.org/10.13021/g8bs3s.

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Gender themed Research Project, using the biblical story of Judith and Holofernes to examine how Baroque artists tackled representing Judith as a female figure who openly subverts the Renaissance gender norms by defeating a male. Focusing on the artists, Michelangelo Merisi da Caravaggio, Orazio Gentileschi and Artemisia Gentileschi, the paper explores through visual analysis how each artist approached representing the gender issue within the biblical narrative in their artwork. The biblical narrative is discussed and two well-disseminated published articles about gender roles are reviewed. Ad

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37

Mendez, Rachel. "THE ARTEMISIA FILES: ARTEMISIA GENTILESCHI FOR FEMINISTS AND OTHER THINKING PEOPLE. Mieke Bal." Art Documentation: Journal of the Art Libraries Society of North America 25, no. 1 (2006): 63. http://dx.doi.org/10.1086/adx.25.1.27949409.

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38

Topper, David, and Cynthia Gillis. "Trajectories of Blood: Artemisia Gentileschi and Galileo's Parabolic Path." Woman's Art Journal 17, no. 1 (1996): 10. http://dx.doi.org/10.2307/1358523.

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39

Sin, YoungRai. "A Study on the women image of Artemisia Gentileschi." Europe Culture Arts Association 8, no. 2 (2017): 77–93. http://dx.doi.org/10.26854/jeca.2017.8.2.77.

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40

Cohen, Elizabeth S. "The Trials of Artemisia Gentileschi: A Rape as History." Sixteenth Century Journal 31, no. 1 (2000): 47. http://dx.doi.org/10.2307/2671289.

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41

Elçi Akpınar, Nurtaç. "Görsel Ziyafete Başkaldırı: Artemisia Gentileschi, "Susanna ve Yaşlılar" (1610, Pommersfelden)." Sanat Tasarim Dergisi, no. 7 (November 30, 2016): 15–19. http://dx.doi.org/10.17490/sanat.2017.12.

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42

ffolliott, Sheila. "Artemisia Gentileschi: The Language of Painting by Jesse M. Locker." Early Modern Women 10, no. 2 (2016): 191–94. http://dx.doi.org/10.1353/emw.2016.0022.

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43

Och, Marjorie. "Artemisia Gentileschi in a Changing Light ed. by Sheila Barker." Early Modern Women 14, no. 1 (2019): 214–18. http://dx.doi.org/10.1353/emw.2019.0055.

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44

Grundy, Susan. "Letting in the light: Artemisia Gentileschi and the camera obscura." de arte 40, no. 71 (2005): 35–45. http://dx.doi.org/10.1080/00043389.2005.11877035.

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45

Wilbourne, Emily. "A Question of Character: Artemisia Gentileschi and Virginia Ramponi Andreini." Italian Studies 71, no. 3 (2016): 335–55. http://dx.doi.org/10.1080/00751634.2016.1189254.

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46

Eckardt, Marianne Horney. "Discussion of “Artemisia Gentileschi and Her World” by Ildiko Mohacsy." Journal of the American Academy of Psychoanalysis and Dynamic Psychiatry 32, no. 1 (2004): 177–80. http://dx.doi.org/10.1521/jaap.32.1.177.28323.

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47

Pinto, Elaine Carolina. "A Cluster of Mirrors: Constructing Artemisia Gentileschi across the Media." Lublin Studies in Modern Languages and Literature 46, no. 3 (2022): 67–75. http://dx.doi.org/10.17951/lsmll.2022.46.3.67-75.

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48

Lajta-Novak, Julia. "Father and Daughter across Europe: The Journeys of Clara Wieck Schumann and Artemisia Gentileschi in Fictionalised Biographies." European Journal of Life Writing 1 (December 5, 2012): 41–58. http://dx.doi.org/10.5463/ejlw.1.25.

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German pianist Clara Wieck Schumann and Italian painter Artemisia Gentileschi were both tutored by their fathers from an early age and made their mark as great European artists. Their art took them both across the continent, where they met many other famous historical persons. Their lives have not only been recorded in biographies but have also been retold in several novels, or ‘fictionalised biographies’. The fictionalised biography is an interesting hybrid genre, placed somewhat uncomfortably between historiography and the art of fiction, which permits it to disregard certain expectations ra

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49

Zhao, Crystal. "The Significance of Female Artists in the Renaissance." Communications in Humanities Research 69, no. 1 (2025): 14–20. https://doi.org/10.54254/2753-7064/2025.23184.

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This paper focuses on the lives of female artists during the Renaissance, who faced many challenges while pursuing their career. Societal prejudices and lack of education placed restrictions on their career; problems such as misattribution and absent recognition also led to difficulties in accrediting female artists. Still, artists like Plautilla Nelli, Sofonisba Anguissola, Properzia De Rossi, Caterina van Hemessen, Diana Mantuana, Lavinia Fontana, and Artemisia Gentileschi became significant figures in the art field by breaking the conventional gender barriers. From tiny portraitures to scul

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50

Tedesco, Cristine. "ARTEMISIA GENTILESCHI E OS MECENAS DE SEU TEMPO: CARTAS DE UMA PINTORA DO SÉCULO XVII." História: Questões & Debates 66, no. 1 (2018): 225. http://dx.doi.org/10.5380/his.v66i1.47561.

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