Saint Proculus (Proclus) of Pozzuoli was martyred around 305 AD, according to Christian tradition, at the same time as Saint Januarius.
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 Flavian Amphitheater, located in Pozzuoli, is the third-largest Roman amphitheater in Italy. Only the Roman Colosseum and the Amphitheatre of Capua are larger. It was likely built by the same architects who previously constructed the Roman Colosseum. The name "Flavian Amphitheater" is primarily associated with the Roman Colosseum.
Saint Sossius or Sosius was Deacon of Misenum, an important naval base of the Roman Empire in the Bay of Naples. He was martyred along with Saint Januarius at Pozzuoli during the Diocletian Persecutions. His feast day is September 23, the date, three days after his death, on which his corpse was translated to Misenum.
Judith Slaying Holofernes is a painting by the Italian early Baroque artist Artemisia Gentileschi, completed in 1612-13 and now at the Museo Capodimonte, Naples, Italy. The picture is considered one of her iconic works. The canvas shows Judith beheading Holofernes. The subject takes an episode from the apocryphal Book of Judith in the Old Testament, which recounts the assassination of the Assyrian general Holofernes by the Israelite heroine Judith. The painting shows the moment when Judith, helped by her maidservant Abra, beheads the general after he has fallen asleep in a drunken stupor. She painted a second version now in the Uffizi, Florence, somewhere between 1613 and 1621.
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.
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.
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.
Saint Catherine of Alexandra is a painting by the Italian Baroque artist Artemisia Gentileschi. It is in the collection of the Uffizi, Florence. Gentileschi likely used the same cartoon or preparatory drawing to create both this painting and the Self-Portrait as Saint Catherine of Alexandria (1615–1617), now in the National Gallery, London.
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.
Adoration of the Magi is a 1635–1637 painting by Artemisia Gentileschi. Along with Saint Januarius in the Amphitheatre at Pozzuoli and Saints Proculus and Nicea, it was commissioned by Martín de León Cárdenas, bishop of Pozzuoli for Pozzuoli Cathedral. Adoration was held in Naples for around fifty years for conservation before being returning to its original position in the Cathedral in May 2014.
Saints Proculus and Nicea is a 1635-1637 painting by Artemisia Gentileschi of Proculus and Nicea. Along with Adoration of the Magi and Saint Januarius in the Amphitheatre at Pozzuoli, it was commissioned by Martín de León Cárdenas for the choir of Pozzuoli Cathedral, of which he was bishop. After around fifty years' restoration in Naples, the painting was returned to its original spot in May 2014 when the Cathedral reopened for worship.
Proculus and Nicea were two Christian martyrs. According to Jean Bolland and Camillo Tutini, they were martyred in 249 during the Decian persecutions; Proculus was a deacon and Nicea was his mother. According to tradition they are buried in Pozzuoli Cathedral, where they are venerated. They were painted in 1637 by Artemisia Gentileschi.
Lot and His Daughters is a 1636-1638 painting by Artemisia Gentileschi, now in the Toledo Museum of Art.
Mary Magdalene in Ecstasy is a painting by the Italian baroque artist Artemisia Gentileschi. It is in the Doge’s Palace in Venice.
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.
Clio, Muse of History is a painting by the baroque painter Artemisia Gentileschi. It was painted around 1632, just after Artemisia had moved to Naples. It currently hangs in the Palazzo Blu, Pisa. The painting has been interpreted in relationship to Gentileschi's own career and self-image - "by including her signature in Clio's open book, Artemisia was quite literally writing herself into history". In stylistic terms, the painting demonstrates Gentileschi's borrowing from Venetian styles of painting where she "applied her colors in a free and more spontaneous fashion."
Annunciation is a painting by the Italian artist Artemisia Gentileschi. It is signed and dated 1630.
