In Greek mythology, Clio, also spelled Kleio, is the muse of history, or in a few mythological accounts, the muse of lyre-playing.
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.
Self-Portrait as the Allegory of Painting, also known as Autoritratto in veste di Pittura or simply La Pittura, was painted by the Italian Baroque artist Artemisia Gentileschi. The oil-on-canvas painting measures 98.6 by 75.2 centimetres and was probably produced during Gentileschi's stay in England between 1638 and 1639. It was in the collection of Charles I and was returned to the Royal Collection at the Restoration (1660) and remains there. In 2015 it was put on display in the "Cumberland Gallery" in Hampton Court Palace.
This is an ongoing bibliography of work related to the Italian baroque painter Artemisia Gentileschi.
Self-Portrait as a Lute Player is one of many self-portrait paintings made by the Italian baroque artist Artemisia Gentileschi. It was created between 1615 and 1617 for the Medici family in Florence. Today, it hangs in the Wadsworth Atheneum Museum of Art, Hartford, Connecticut, US. It shows the artist posing as a lute player looking directly at the audience. The painting has symbolism in the headscarf and outfit that portray Gentileschi in a costume that resembles a Romani woman. Self-Portrait as a Lute Player has been interpreted as Gentileschi portraying herself as a knowledgeable musician, a self portrayal as a prostitute, and as a fictive expression of one aspect of her identity.
Jael and Sisera is a painting by the Italian Baroque artist Artemisia Gentileschi, executed around 1620.
Madonna and Child is an early painting by the baroque painter Artemisia Gentileschi. It was painted around 1613, when Artemisia was around 20 years old. It currently hangs in the Galleria Spada in Rome.
Self-Portrait as a Female Martyr, is also known as the Self-Portrait as a Martyr Saint. This painting was created by the Italian female artist, Artemisia Gentileschi. This self-portrait was made around 1615 depicting the artist herself as a martyr. It is one of two paintings by Gentileschi painted with oil on a wood panel. This self-portrait is currently in a private collection in the United States.
The Portrait of a Gonfaloniere is a painting by the Italian baroque artist Artemisia Gentileschi. It hangs in the Palazzo d'Accursio, Bologna. It is a portrait of an unknown gonfaloniere standing in full regalia and was painted in 1622. Mary D. Garrard has speculated that the man may be Pietro Gentile of Genoa.
Susanna and the Elders is a painting by the Italian artist Artemisia Gentileschi. It is signed with Gentileschi's name and the date of 1622. The painting is in the collection at Burghley House near Stamford, Lincolnshire, England.
Corisca and the Satyr was painted in the 1630s by the Italian artist Artemisia Gentileschi. It currently hangs in a private collection.
Susanna and the Elders is a 1652 painting by the Italian artist Artemisia Gentileschi. It currently hangs in the Pinacoteca Nazionale, Bologna. The painting, over two metres broad, was completed in collaboration with Gentileschi's pupil Onofrio Palumbo - documents relating to the sale of the painting mention a payment to Palumbo.
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.
Saint Januarius in the Amphitheatre at Pozzuoli is a 1635-1637 oil on canvas painting by Artemisia Gentileschi. The work shows the moment that the Christian martyr Januarius and his followers are thrown to a group of wild animals in the amphitheatre in Pozzuoli - however, they lick the saint's feet rather than attacking him and Januarius is unharmed.
Mary Magdalene in Ecstasy is a painting by the Italian baroque artist Artemisia Gentileschi. It is in the Doge’s Palace in Venice.
Portrait of a Lady Holding a Fan is a painting by the Italian artist Artemisia Gentileschi. Executed in the mid-1620s, it is part of the collection of The Sovereign Military Order of Malta. There is no firm idea who the sitter is, although some historians have wondered if the portrait is indeed a self-portrait. However, given the rich clothing and jewellery of the sitter, this is unlikely.
Bathsheba is a 1636-37 painting by the Baroque painter Artemisia Gentileschi, with contributions by Viviano Codazzi and Domenico Gargiulo. It shows the Hittite woman Bathsheba being washed and tended to by her servants. At the top left of the painting, King David sees her from his palace. It was one of seven versions from the story of Bathsheba that Gentileschi painted.
Medea is an oil painting by the Italian baroque painter Artemisia Gentileschi. Medea was a figure from Greek mythology. In the Gentileschi painting Medea is depicted at the moment she kills her son.
Christ and the Woman of Samaria is a 1637 oil painting on canvas by the Italian artist Artemisia Gentileschi, depicting a story from the New Testament. It was part of a private collection in Palermo, and is now in the public Palazzo Blu in Pisa.
