List of works by Artemisia Gentileschi

Last updated December 12, 2023

The following is an incomplete list of works by Artemisia Gentileschi . Catalogue numbers abbreviated "WB" are taken from the 1999 publication by Raymond Ward Bissell,^[1] and number abbreviated "MET" are from the 2001 publication by the Metropolitan Museum of Art. Other attributions are taken from Jesse Locker's The Language of Painting.^[2]^[3] Further references are available on the Bibliography on Artemisia Gentileschi.

name	year	collection	dimensions	inventory nr.	catalogue code
Susanna and the Elders	1610-1611	Schloss Weißenstein	170 x 119 cm.	191	MET (51), WB (2)
Madonna and Child	1610-1611	Galleria Spada	116.5 X 86.5 cm.	166	MET (52), WB (X-19)
Cleopatra	1611-1612	Private Collection	118 x 181 cm.		MET (53), WB (X-6)
Judith Slaying Holofernes	1611-1612	Museo Nazionale di Capodimonte	158.8 x 125.5 cm.		MET (55), WB (4)
Danae	1612	Saint Louis Art Museum	40.5 X 52.5 cm.	93:1986	MET (54), WB (X-7)
Portrait of a Nun	1613-1618	Private Collection	70 × 52.5 cm.		MET (Figure 114.)
Allegory of Inclination	1615	Casa Buonarroti	152 × 61 cm.		MET (Figure 110.), WB (8)
Self-Portrait as a Female Martyr	c. 1615	Private Collection	32 X 24.7 cm.		MET (56), WB (7)
Self-Portrait as Saint Catherine of Alexandria	1615-1617	National Gallery, London	71.5 cm x 71 cm	NG6671
Self-Portrait as a Lute Player	1616-1618	Wadsworth Atheneum Villa Medici	30 x 28 cm		MET (57)
Mary Magdalene	1616–1617	Palazzo Pitti, Florence	146.5 x 108 cm		MET (58), WB (10)
Saint Catherine of Alexandria	c. 1618–1619	Uffizi The National Gallery^[4]	77 x 62 cm	8032	MET (59), WB (6)
Judith and her Maidservant	c. 1618–1619	Palazzo Pitti, Florence	14 x 93.5 cm		MET (60), WB (5)
Allegory of Painting	1620s	Musee de Tesse, Le Mans	95.5 x 133 cm		MET (64)
Mary Magdalene as Melancholy	1620s	Museo Soumaya	136.3 × 100.3 cm.		MET (Figure 128.), WB (17)
Saint Cecilia	c. 1620	Galleria Spada	108 X 78.5 cm.		MET (63), WB (X-28)
Mary Magdalene in Ecstasy	1620	private collection	81 x 105 cm cm.		G. Pupi
Jael and Sisera	1620	Museum of Fine Arts, Budapest	86 X 125 cm.		MET (61), WB (11)
Judith Slaying Holofernes	1620-1621	Uffizi	86 X 125 cm.		MET (62), WB (12)
Susanna and the Elders	1622	Burghley House	162.5 x 121.9 cm.		MET (65), WB (X-42)
Portrait of a Gonfaloniere	1622	Palazzo d'Accursio	208 x 128 cm.		MET (66), WB (13)
Lucretia	c. 1623–1625	Collection Gerolamo Etro, Milan	54 x 51 cm.		MET (67), WB (3)
Christ Blessing the Children	c. 1624–1625	Church of Sant'Ambrogio e Carlo al Corso, Rome	134.6 × 97.7 cm.		MET (Figure 132.)
Penitent Magdalene	c. 1625–1626	Seville Cathedral	122 x 96 cm.		MET (68), WB (16)
Judith and Maidservant with Head of Holofernes	c. 1625–1627	Detroit Institute of Arts	182.2 X 142.2 cm.	52.253	MET (69), WB (14)
Venus and Cupid	c. 1625–1630	Virginia Museum of Fine Arts	94 x 144 cm.	2001.225	MET (70), WB (18)
Aurora	1625-1627	Private Collection	218 x 146 cm.		MET (Figure 96.), WB (15)
Esther before Ahasuerus	c. 1628–1635	Metropolitan Museum of Art	208.3 × 273.7 cm.	69.281	MET (71), WB (28)
Allegory of Painting	1630s	Private Collection			MET (Figure 97.)
Penitent Magdalene	1630s	Private Collection	49 x 39.7 cm.		MET (Figure 98.)
Madonna and Child	c. 1630	Palazzo Pitti, Florence	118 x 86 cm.	2129	MET (Figure 107.), WB (1)
Susanna and the Elders	c. 1630	Nottingham Castle	162.5 x 121.9 cm.	NCM 1964-77	MET (65 (related pictures: Nottingham))
Annunciation	1630	Museo Nazionale di Capodimonte	257 x 179 cm.	Q375	MET (72), WB (24)
Penitent Magdalene	c. 1630–1632	Private Collection	65.7 x 50.8 cm.		MET (73), WB (9)
The Sleeping Christ Child	1630-1632	Museum of Fine Arts, Boston	12.4 × 17.5 cm	2022.102
Corisca and the Satyr	c. 1630–1635	Private Collection	155 x 210 cm.		MET (74), WB (30)
Self Portrait	c. 1630–1635	Palazzo Barberini, Rome	98 x 74.5 cm	1952 (F.N. 33598)	Locker (Figure 5.2)
Samson and Delilah	1630-1638	Palazzo Zevallos, Naples			WB (35)
Clio: the Muse of History	1632	Palazzo Blu	127.6 x 97.2 cm.		MET (75), WB (27)
Cleopatra	c. 1633–1635	Private Collection	117 x 175.5 cm.		MET (76), WB (22)
Nativity of St. John the Baptist	c. 1633–1635	Museo del Prado	184 X 158 cm.	P00149	MET (77), WB (32)
Lot and his Daughters	c. 1635–1638	Toledo Museum of Art	230.5 x 183 cm.	1983.107	MET (78), WB (39)
The Martyrdom of St Januarius in the Amphitheatre at Pozzuoli	c. 1636–1637	Museo Nazionale di Capodimonte	300 x 200 cm.		MET (79), WB (33b)
Adoration of the Magi	c. 1636–1637	Museo Nazionale di Capodimonte	300 × 180 cm.		MET (Figure 142.), WB (33c)
Saint Proculus of Pozzuoli and his mother Santa Nicaea	c. 1636–1637	Museo Nazionale di Capodimonte	300 × 180 cm.		MET (Figure 143.), WB (33a)
David and Bathsheba	c. 1636-1638	Columbus Museum of Art	265.4 x 209.6 cm.	1967.006	MET (80), WB (37)
Bathsheba	1638	Private Collection			MET (80 (related pictures: formerly Ramunni, Naples, ex-Leipzig)), WB (40)
Self-Portrait as the Allegory of Painting	c. 1638–1639	Royal Collection, Windsor Castle	96.5 x 73.7 cm.	RCIN 405551	MET (81), WB (42)
Susanna and the Elders^[5]	c. 1638–1640	Royal Collection, Windsor Castle	189 x 143 cm.
Judith and Maidservant with Head of Holofernes	c. 1640s	Museo di Capodimonte, Naples	272 X 221 cm.	Q377	MET (69 (related pictures: Museo di Capodimonte)), WB (48c)
Judith and her Maidservant (Cannes)	c. 1640s	Musee de la Castre, Cannes	235 x 172 cm.	2006.O.751	WB (47), Locker Figure 3.31
Saint Apollonia	1642-1644	Museo Soumaya	74.3 cm × 57 cm (29.3 in × 22 in)
David and Bathsheba	1645	Prussian Palaces and Gardens Foundation Berlin-Brandenburg	265.4 x 209.6 cm.		MET (80 (related pictures: Neues Palais, Potsdam)), WB (48a)
Lucretia	1645-1650	Neues Palais in Potsdam	261 × 226 cm.		MET (Figure 99.), WB (48b)
David and Bathsheba	1645	Palazzo Pitti, Florence	286 x 214 cm		MET (80 (related pictures:Palazzo Pitti))
Bathsheba	1640-1645	Private Collection			MET (80 (related pictures: Haas collection, Vienna)), WB (45)
Venus Embracing Cupid	1640s	Private Collection	121 x 160 cm.		MET (82), WB (31)
Susanna and the Elders	1649	Moravian Gallery in Brno	205 x 168 cm		MET (83), WB (50)
Susanna and the Elders	1650	Bassano Civic Museum	168 × 112 cm		MET (83 (related pictures: Bassano del Grappo)); Locker, Figure 6.1
Virgin and Child with a Rosary	1651	El Escorial	58 x 50 cm		MET (84), WB (51)
Susanna and the Elders	1652	Pinacoteca Nazionale di Bologna	200.3 × 225.6 cm		WB (L-104)

Related Research Articles

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.

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.

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.

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.

Jael and Sisera is a painting by the Italian Baroque artist Artemisia Gentileschi, executed around 1620.

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.

Santa Cecilia is an early painting, from c. 1620, by the Baroque painter Artemisia Gentileschi, a painter described as "a grand exception in the history of art - a successful woman painter in an era in which art was dominated by men."

Penitent Magdalene is a painting by the Italian artist Artemisia Gentileschi. It hangs in Seville Cathedral. It has probably been in the cathedral since the late 17th century. She returned to the subject later in the 1620s in Mary Magdalene as Melancholy.

Judith and Her Maidservant is a painting by the Italian baroque artist Artemisia Gentileschi. Executed sometime between 1640 and 1645, it hangs in 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.

Susanna and the Elders is one of several paintings on this theme executed by the Italian baroque artist Artemisia Gentileschi. This version, painted in 1649, hangs in the Moravian Gallery in Brno, Czech Republic. It is signed with Gentileschi's signature and the date on the balustrade on the right.

<i>Self-Portrait</i> (Artemisia Gentileschi)

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.

The Birth of Saint John the Baptist, by Artemisia Gentileschi, was part of a six-painting portrayal of Saint John's life, with four of the paintings by Massimo Stanzione and one by Paolo Finoglia, for the Hermitage of San Juan Bautista on the grounds of Buen Rierto in Madrid, under orders from the Viceroy of Naples, the Conde de Monterrey. Although a date has not been agreed upon by scholars, Artemesia most likely painted The Birth of Saint John the Baptist between 1633 and 1635. It is one of the most renowned works from Artemisia's Naples period, especially due to its detailed rendering of fabrics and floor tiles.

Self-Portrait as Saint Catherine of Alexandria is a 1615–1617 painting by the Italian Baroque artist Artemisia Gentileschi, showing the artist in the guise of Catherine of Alexandria. It is now in the collection of the National Gallery, London, which purchased it in 2018 for £3.6 million, including about £2.7 million from its American Friends group.

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.

Aurora is a c.1625-1627 painting by the Italian artist Artemisia Gentileschi, depicting the Roman goddess of dawn. It is part of a private collection in Rome.

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.

Christ Blessing the Children is a painting by the Italian artist Artemisia Gentileschi, depicting an episode from the New Testament. It hangs in the church of S. Carlo al Corso in Rome.

References

↑ Artemisia Gentileschi and the Authority of Art: Critical Reading and Catalogue Raisonné, Pennsylvania State University Press, 1999
↑ Christiansen, Keith; Mann, Judith (2001). Orazio and Artemisia Gentileschi. Metropolitan Museum of Art.
↑ Locker, Jesse M. (2015). Artemisia Gentileschi: The Language of Painting. New Haven, Yale University Press. p. 96. ISBN 9780300185119.{{cite book}}: CS1 maint: location missing publisher (link)
↑ "Artemisia Gentileschi | Self Portrait as Saint Catherine of Alexandria | NG6671 | National Gallery, London". www.nationalgallery.org.uk. Retrieved 2023-12-12.
↑ "Susanna and the Elders c.1638-40". rct.uk. Royal Collection . Retrieved 25 September 2023.

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[1] Artemisia Gentileschi and the Authority of Art: Critical Reading and Catalogue Raisonné, Pennsylvania State University Press, 1999

[2] Christiansen, Keith; Mann, Judith (2001). Orazio and Artemisia Gentileschi. Metropolitan Museum of Art.

[3] Locker, Jesse M. (2015). Artemisia Gentileschi: The Language of Painting. New Haven, Yale University Press. p. 96. ISBN 9780300185119.{{cite book}}: CS1 maint: location missing publisher (link)

[4] "Artemisia Gentileschi | Self Portrait as Saint Catherine of Alexandria | NG6671 | National Gallery, London". www.nationalgallery.org.uk. Retrieved 2023-12-12.

[5] "Susanna and the Elders c.1638-40". rct.uk. Royal Collection . Retrieved 25 September 2023.

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