Artemisia Lomi or Artemisia Gentileschi was an Italian Baroque painter. Gentileschi is considered among the most accomplished seventeenth-century artists, initially working in the style of Caravaggio. She was producing professional work by the age of 15. In an era when women had few opportunities to pursue artistic training or work as professional artists, Gentileschi was the first woman to become a member of the Accademia di Arte del Disegno in Florence and she had an international clientele.
Orazio Lomi Gentileschi (1563–1639) was an Italian painter. Born in Tuscany, he began his career in Rome, painting in a Mannerist style, much of his work consisting of painting the figures within the decorative schemes of other artists.
The Assumption of the Virgin Mary does not appear in the New Testament, but appears in apocryphal literature of the 3rd and 4th centuries, and by 1000 was widely believed in the Western Church, though not made formal Catholic dogma until 1950. It first became a popular subject in Western Christian art in the 12th century, along with other narrative scenes from the Life of the Virgin, and the Coronation of the Virgin. These "Marian" subjects were especially promoted by the Cistercian Order and Saint Bernard of Clairvaux.
Domenico Fiasella was an Italian painter of the Baroque period, mainly active in Genoa. He was nicknamed Il Sarzana, after his birthplace.
Bernardo Cavallino (1616–1656) was an Italian painter and draughtsman. He is regarded as one of the most original painters active in Naples during the first half of the 17th century.
The Museo Civico d'Arte Antica is an art museum located in the Palazzo Madama in Turin, Italy. It has a renowned collection of paintings from the medieval, Renaissance and Baroque periods. It reopened in 2006 after several years of restorations.
Orazio Riminaldi was an Italian painter who painted mainly history subjects in a Caravaggist style.
Giovanni Battista Benaschi, or Beinaschi, (1636–1688) was an Italian painter and engraver active in the Mannerist and Baroque style.
Italian Baroque art is a term that is used here to refer to Italian painting and sculpture in the Baroque manner executed over a period that extended from the late sixteenth to the mid eighteenth centuries. Italian Baroque architecture is not covered.
The Nursing Madonna, Virgo Lactans, or Madonna Lactans, is an iconography of the Madonna and Child in which the Virgin Mary is shown breastfeeding the infant Jesus. In Italian it is called the Madonna del Latte. It was a common type in painting until the change in atmosphere after the Council of Trent, in which it was rather discouraged by the church, at least in public contexts, on grounds of propriety.
The Church of Santa Maria al Monte dei Cappuccini is a late-Renaissance-style church on a hill overlooking the River Po just south of the bridge of Piazza Vittorio Veneto in Turin, Italy. It was built for the Capuchin Order; construction began in 1583 and was completed in 1656. The original design was by Ascanio Vitozzi, but was completed by Giacomo Soldati.
The Lute Player is a painting from c. 1612–1615 by the Italian artist Orazio Gentileschi (1563–1639) depicting a young woman in a golden dress with a lute.
Susanna and the Elders is a 1610 painting by the Italian Baroque artist Artemisia Gentileschi and is her earliest-known signed and dated work. It was one of Gentileschi's signature works. She painted several variations of the scene in her career. It currently hangs at Schloss Weißenstein in Pommersfelden, Germany. The work shows an uncomfortable Susanna with two men lurking above her while she is in the bath. The subject matter comes from the deuterocanonical Book of Susanna in the Additions to Daniel. This was a popular scene to paint during the Baroque period.
Judith and her Maidservant is a c. 1615 painting by the Italian baroque artist Artemisia Gentileschi. The painting depicts Judith and her maidservant leaving the scene where they have just beheaded general Holofernes, whose head is in the basket carried by the maidservant. It hangs in the Pitti Palace, Florence.
Judith and Her Maidservant is one of four paintings by the Italian baroque artist Artemisia Gentileschi that depicts the biblical story of Judith and Holofernes. This particular work, executed in about 1623 to 1625, now hangs in the Detroit Institute of Arts. The narrative is taken from the deuterocanonical Book of Judith, in which Judith seduces and then murders the general Holofernes. This precise moment illustrates the maidservant Abra wrapping the severed head in a bag, moments after the murder, while Judith keeps watch. The other three paintings are now shown in the Museo di Capodimonte in Naples, the Palazzo Pitti in Florence, and the Musée de la Castre in Cannes.
Virgin and Child with a Rosary is one of the last known paintings by the Italian artist Artemisia Gentileschi. Small in size and painted with oil on copper, it was completed in 1651. It was part of the Spanish royal collection and currently hangs in the El Escorial collection, in Spain.
The Self Portrait of Italian baroque artist Artemisia Gentileschi was painted in the early 1630s. It currently hangs in the Palazzo Barberini, Rome. It is one of many paintings where Gentileschi depicts herself. Beyond self-portraits, her allegorical and religious paintings often featured herself in different guises.
Cleopatra is a 1611-1612 oil on canvas painting of Cleopatra by Artemisia Gentileschi, now in the private Etro collection in Milan.
Annunciation is an oil on alabaster painting by Orazio Gentileschi, from c. 1600-1605, later mounted on slate. Produced in Rome for an unknown private commissioner, it is now in Álvaro Saieh and Ana Guzmán's residence as part of the Alana collection in Newark, Delaware, USA.
Annunciation is a 1623 oil on canvas painting by Orazio Gentileschi, now in the Galleria Sabauda in Turin. The work was produced during the artist's stay in Genoa. Its large red curtain quotes that in Caravaggio's Death of the Virgin (Louvre), which he had seen in Rome, but the painting as a whole uses a warmer daytime light in contrast to that work's nighttime setting.
