Discover painter Artemisia Gentileschi

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Artemisia Gentileschi

female / Italian

painter

Name variations

This field records and makes accessible name variations, as found in sources. Alternate spellings, nicknames, maiden names - with or without the married name - are included in this category.

: Lomi, Artemisia
Gentilesca, Artemisia

Qualifications: painter

Nationality/school: Italian

Born: Rome 1593-07-08

Deceased: Naples 1654-08
after February 1654, when she signed the last known contract for a painting (Strinati/Zuccari/Bagnoni 2010, vol. 2, p. 419, note 1); after 12 August 1654, when she is recorded as making a text payment (Treves et al. 2020); died in Napels in 1652 (Agnati 2021)

Family relationships this field records any family relationship to one or more other artist(s).: daugher of Orazio Gentileschi, sister of Francesco, Giulio and Marco Gentileschi; on 29 November 1612 she married the Florentine painter Pierantonio Stiattesi (also Schiattesi, no works known); mother of Prudenzia Gentileschi (born 1 August 1617 Florence), who also painted

This person/entity in other databases

13 hits in RKDimages as artist
36 hits in RKDlibrary as subject
1 hit in RKDlibrary as author
1 hit in RKDexcerpts as artist

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Biographical information

Active in

Rome 1608 - 1612
first signed work is from 1610 (Strinati/Zuccari/Bagnoni 2010)
Florence 1613 - 1620
1612 or 1613 (Treves et al. 2020); started using the name Lomi of her grandmother
Genua 1621
Rome 1621 - 1626
Venetië 1626 - 1630
Napels 1630 - 1636
In 1631 Joachim von Sandrart visited her Neapolitan studio on the recommendation of her father and saw there the picture of David with the head of Goliath, which is likely the one that was in the Giustiniani Collection in Rome from 1638 onwards (Saur 2006).
Londen (Engeland) 1638 - 1640
Napels 1640 - 1654
died in Napels after 12 August 1654

born in

active in

died in

Connections with other artists

Pupil of This field mentions the names of teachers or masters. What is at issue are the teachers who made a significant contribution to the development of a students, as opposed to every instructor they ever had. See also the 'Education' field.: Gentileschi, Orazio
Tassi, Agostino
In May 1611 violent defloration (stupro) by the painter Agostino Tassi, who in the trial of 1612 claims to have been her teacher in perspective drawing (Saur 2006).
Teacher of This field mentions the names of pupils. What is at issue are the pupils who were significantly influenced by a teacher as opposed to every student someone ever had. See also the 'Education' field.: Palumbo, Onofrio
Influenced by In contrast with ‘follower of’, we speak of ‘influenced by’ when an artist was influenced outside the context of an educational setting or servile following. An artist can be influenced by several artists at once, or in succession. In addition, there may be question of a transition to a personal style which may demonstrate development.: Dyck, Anthony van
Allori, Cristoforo
Vouet, Simon
Stanzione, Massimo
Cavallino, Bernardo

Subjects This field specifies the various subject categories or genres that constitute the oeuvre of the artist in question. The contents of this field are generally based more on the documentation available at the RKD than on the literature.: Christian religious scene, history (genre), mythology, portrait

Art movement Here we mention the art movement to which an artist belonged. Many art movements have not yet been entered, because the content of this field is still under development.: Caravaggisti

Literature

Literature in RKDLibrary: 36 hits in RKDlibrary as subject
1 hit in RKDlibrary as author

Sandrart/Peltzer 1675/1925 , p. 290
Houbraken 1718-1721 , vol. 1 (1718), p. 81 (as: Arthemisia, daughter of Horatius Gentilesco)
Walpole et al. 1762/1876 (ed. Wornum) , vol. 2, p. 11-
Thieme/Becker 1907-1950 , vol. 13 (1920), p. 408-409
Bénézit 1976 , vol. 4, p. 672
Witt Checklist 1978 , p. 110
Gavazza/Rotondi Terminiello 1992 , p. 192-193
Christiansen 2004
Saur 1992- , vol. 51 (2006), p. 402
Strinati/Zuccari/Bagnoni 2010 , vol. 2, p. 406-419
Vodret 2011 , p. 234-235, no. 237
Münch et al. 2017 , p. 220-236
De Beir/Solinas/Tapié 2018 , p. 130-155
Garrard 2020 , passim
Agnati 2021 , passim
Horn/Van Leeuwen 2021 [Houbraken Translated]

G. Papi, ‘Artemisia Gentileschi (1593-1626): gli anni romani, il soggiorno fiorentino’, in R. Contini, G. Papi (eds.), Artemisia, Florence (Casa Buonarroti) 1991, p. 33-62
K. Christiansen, 'The Gentileschi and Sauli', J. P. Uraneck, 'Picasso's ''Two views of a left eye'' of 1892-93: a recent discovery', The Burlington Magazine 145 (2003), 588
M. Bal, The Artemisia Files. Artemisia Gentileschi for Feminists and Other Thinking People, Chicago 2005
V. von Flemming, 'Italienische Malerei des 17. und 18. Jahrhunderts', Kunsthistorische Arbeitsblätter November 2004, p. 37-48
J.W. Mann, 'Identity signs: meanings and methods in Artemisia Gentileschi's signatures', Renaissance Studies 23 (2009), p. 71-107
J. Zapletalova, 'Artemisia Gentileschi: a newly attributed painting', Arte Cristiana 877 (2013), nr. 7-8, p. 251-258
G. Papi, '[Exhibition:] Artemisia Gentileschi, Rome', The Burlington Magazine 159 (2017) no. 1368, p. 242-244
F. Cappelletti, 'Strade, palazzi e botteghe: Incontri e cirostanze più of meno casuali nelle relazioni artistiche a Roma nel prime Seicento e un questio per la bottega dei Gentileschi', in: A. Varela Braga and T-L. True, Roma e gli artisti stranieri, Rome 2018, p. 131-139

Documentation RKD

This field specifies the location of the various RKD documentation materials. Most of the locations refer to our art-historical image documentation. In addition, you will find references to press documentation (clippings and short articles) here.

Project: Gerson Digital : Italy

External links: this artist in Sandrart.net
this artist in Treccani

Permalink: https://rkd.nl/explore/artists/30922

Creation date: 1991-12-15; Last modified date: 2023-05-16

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Artemisia Gentileschi

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