Agostino Tassi Essays

Artemisia believes his promise of marriage so they continue their relationship. Then, Agostino Tassi reneged on his promise of marriage and Artemisia Gentileschi’s father filed a lawsuit against him followed by a publicized “seven-month trial” that ruined her reputation (Garrard 20). Agostino Tassi denies everything and accuses Artemisia Gentileschi of having intercourse with his friend. After 8 months, Agostino Tassi is released from prison and eventually comes back working for Artemisia’s father (Guerrilla

females but I think that women should not have been treated as objects, “…men dominated women in myriad settings: political, legal, familial, and intellectual” (Cohen, 66). For example, when Artemisia was getting raped by Agostino, it shocked me how she easily accepted, “As soon as Tassi offered a means to repair her damaged honor, her rhetoric moves from violent revenge to compliance” (Cohen, 71). This shows how women undervalued themselves and how they were the ones who had to suffer. Despite the fact

Once, there was a woman who claimed that her identity is like the spirit of Caesar. She was raped when she was nineteen, and public condemned her of losing her virtue, even though virtue is not a woman’s consumable good that can be achieved by purity or lost by accident. This reaction is similar to that of a school teacher in the poem of Martín Espada, My Native Costume. In the poem, the teacher asks the writer to wear traditional costume for the students even though the writer defines himself as

Artemisia Gentileschi has remained one of the most famous women artists in modern history that is not famous for solely her skill. Though talented, scholars have instead chose to highlight the sexual assault and personal struggles Gentileschi went through as a means to deeper understand and criticise her masterful art. Although she painted few altarpieces and no frescoes, her talent was still comparable to some of the great male masters of her time, with her rendition of the story of Judith and Holofernes

Questions on Frida 1. How did Kahlo become a feminist icon? In a time were art was full of male artists and their work, Kahlo came and drew from her heart. As her husband puts it, Kahlo paints what she feels and goes through rather than just what she sees. She has put her life and biography into her work. As a local critic puts it “It is impossible to separate the life and work of this extraordinary person. Her paintings are her biography” (Lucie-Smith, 2008). Kahlo’s life was full of all kinds

The Grande Odalisque is an oil painting from 1814 by Jean Ingres. The painting is of one of the most famous harem girls in the history of art. The girl is young, nude, and beautifully lounging in a luxurious environment with a turban on her head an a peacock feather fan in her hand. This painting is currently located at the Louvre Museum in Paris and can be found in any art history textbook. The word Odalisque in the title is a French term for a woman kept as a sex slave in a Turkish, Persian, or

Painting the Way for Women When Artemisia Gentileschi began painting, as an apprentice under her father’s eye, art was a male only community. At this time, there were no female artists and throughout her life Artemisia Gentileschi broke boundaries and overcame the general consensus that women were not artists. Her life was full of tragedy that she persevered past, all while using the horrific events and bible stories to create something powerful. Artemisia Gentileschi overcame adversity within

elders look over her, leering at her body. Susanna is trapped in a small space, with no hope for escape in this painting, and she is twisting her body to try her hardest to get away from the elders. This painting was created before her rape by Agostino Tassi, and many historians have wondered if the sexual harassment leading up to the rape influenced this painting. As this was her first painting, it brought attention to her as a professional and showed her willingness to experiment with things that

Gentileschi’s rape occurred during her teenage years, which was considered the marrying age. Orazio had a woman, neighbor, Tuzia watch over Gentileschi due to her not having any maternal protection. Agostino Tassi a potential suitor for Gentileschi visited the family’s house on occasion (Cohen, 49). Tassi known as having many relationships with women found Artemisia and Tuzia working on a painting in one of the rooms. According to legend, Tuzia

Abstract The purpose of this essay is to identify the relationship between Artemisia Gentileschi’s personal life experiences, artistic influences, and how they shaped her unusual treatment on traditional art subjects. While many other female artists of her period did not get as much art education as male artists, and were excluded from the artistic community, Artemisia Gentileschi was one of the few female artists that became famous and successful ( Buckley, 2013, pg.832). Her artistic method resembles

By virtue of the excellence of her work, the originality of her treatment of traditional subjects and the number of her paintings that have survived, Artemisia Gentileschi was the most important woman painter of Early Modern Europe. She was both, disdained and praised by contemporary critical opinion, recognized as having genius, but also seen as monstrous, for she was a woman exercising a creative talent thought to be exclusively male. She ‘’ has suffered a scholarly neglect that is almost unthinkable

in Rome and her father is a celebrated painter Orazio Gentileschi. Her father tough her everything he knew until she reached the level of training that had passed his own ability. Therefore, her father hired a painter Agostino Tassi to further her skills in painting. Eventually, Tassi had raped her which went on to have “tremendously negative impact on Gentileschi’s reputation” which could have inspired her to do the biblical artwork that is a very graphical murder done by two women (Artemisia). Artemisia

painting of Danaë. G. The painting of Danaë by Gentileschi is a narrative of rape 3. Zeus forced himself into Danaë’s fortress 4. Agostino Tassi forced his way into Artemisia’s body 5. Danaë laying on the bed suggests that she was aroused H. Trials 7. Possibly lead up to a quote 8. Quote from the trial 9. Explain how the quote supports the topic I. After the trial Tassi was exiled out of Rome for 5 years 6. After he was sentence she moved out of Rome 7. She most likely moved away to avoid seeing him

The paintings that we will view in this exhibition display the works of a few women artists that have made significant impacts on art. Each painting in this exhibit was created by women that overcame major obstacles to present their talents to the world. The works are presented according to the date that they were created starting with the earliest piece. Each painting has various elements that display each artist’s signature style and gifts. The first piece that we will view is an oil on

Judith’s assassination of Holofernes is a tale that appears to have captivated a number of artists during the Renaissance and Baroque periods. The story originates from the Book of Judith of the Old Testament, and tells the story of the titular widowed heroine from the Jewish city of Bethulia, whose home was besieged by the Assyrian Army. In an effort to save her people and her home, Judith snuck into the enemy camp and managed to decapitate general Holofernes, who was infatuated with Judith and

During the explosion of art and ideas which took place during the Renaissance, women began to emerge on the scene as major figures in Italian artistic circles. Artists like Leonardo Da Vinci, Michelangelo, Raphael, and Donatello, among others, dominated the primarily masculine art scene. However, the female artists would take the art scene by storm. The first and foremost among them was the daughter of Orazio Gentileschi, Artemisia. Her works, like Judith Slaying Holofernes, Susanna and the Elders

(Judith decapitating Holofernes), is a good example of a painting designed to challenge its audience. In this grisly scene, Artemisia depicts herself as Judith, holding the dagger that is cutting off Holofernes head, and Holofernes as her rapist Agostino Tassi. The implication is not subtle—this is a woman existing in a period of oppression who may be trying to instill a sense of shame in her audience. She was a victim who received no redress and thus felt that she had to take control of her autonomy