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293:. Both Esther and the king are in almost parallel diagonal angles. Ahasuerus leans forward in his chair as Esther faints backwards, being caught by the women behind her. The diagonal angles in the curtains in front of and behind the king also give the effect of drawing the eye towards him as if to remind the viewer to pay attention to him, too, instead of just focusing on Esther. There is also a lot of direct contrast in how they are both posed. Esther is falling backwards, her chin receding into her neck, while Ahasuerus is leaning forward and looks like he is about to stand up, his chin jutting out towards her. This is a very dynamic scene with a lot of movement from both Esther and the king.
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robes of state...a formidable sight". In contrast, Gentileschi's depiction of the king is not very formidable, and he is leaning forward in a comedic manner with a puzzled expression on his face as Esther faints. This does not seem to be the face of a king who has the power to order the execution of an entire race, and that may be part of
Gentileschi's intent as far as his portrayal goes; the people in charge may not always appear as powerful and scary as their position entails.
236:, as her father's style took inspiration from his. Artemisia's works tend to reflect that training and as such are similar in style to Caravaggio's, but with less focus on dramatic setting and lighting seen in his works and more focus on the people involved and their characterizations. Her paintings are also less idealistic in portraying people and more naturalistic and even a bit mischievous, which can be seen in
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shown in better lighting, while
Ahasuerus is in shadow, and the king is also depicted with an extravagant feathered hat and fur-trimmed boots that are also bejeweled. Esther, meanwhile, is depicted in more elegant and refined clothing. Gentileschi marks her as the protagonist of the scene in this way and gives her more agency while conveying the message of how much of a biblical heroine Esther is.
268:, Esther went before him, without being summoned, to beg for him to spare her people. This broke court etiquette and Esther risked death in doing so. She ended up fainting before the king – the moment depicted in Gentileschi's work. Her action ended up softening the king's decision, and he permitted the Jews to defend themselves against his attack, preventing them from being killed off.
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dress stands out in comparison to the rest of the painting, bringing attention to her figure. She is also better lit than the king, who is almost in shadow. His color palette is also different from the background with an outfit of white and dark green, but unlike Esther, he does not stand out as much due to the fact that he is in darker colors.
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relied on for his depiction, Esther's relationship with the King is meant to represent Mary's unity with Christ. The pomegranate, which is embroidered on Esther's dress in
Guercino's and Artemisia's paintings, also symbolize the Virgin. The fruit reference's Mary's attributes – chastity and immortality.
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Artemisia was not singular in her choice to depict the theme of Esther before
Ahasuerus. Other artists of the period had also painted this passage from the book of Esther. Like Artemisia, Guercino shows Esther swooning and being held up by her maids. In the Apocryphal text, which Guercino most likely
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While the subject matter depicted in this work is the biblical scene of Esther going before
Ahasuerus to plead for her people, the style of the clothing and setting is more contemporary. The significance of the way Gentileschi depicts both Esther and the king speaks to her style and ideals. Esther is
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In addition, Gentileschi paid a lot of attention to the folds of the fabrics as well as in
Ahasuerus's boots, and she even made the stitches on the hem of Esther's dress so exact that they almost look real. Gentileschi's attention to detail is also visible in the cracks of the marble ground as well
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Looking closely, one can see what looks like the shadow of a boy near the king's knee. X-rays by the
Metropolitan Museum of Art revealed that this was a figure of an African boy restraining a dog that was painted over intentionally; this is thought to be a reference to Veronese's depiction of this
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seems to follow the description seen in the Greek additions to the original account, which was declared canonical during the
Council of Trent in 1546. One distinct difference between Gentileschi's work and the text is in how Ahasuerus is portrayed. The text states that he was "dressed in all his
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The colors in this piece are generally more muted and not very vibrant. Shades of red run throughout much of the background, darkened by brown to come off as shadows. The king
Ahasuerus also has red in his outfit in the sash that he wears over his neck. Because of this, Esther's vibrantly yellow
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in New York, having been donated to the museum by Elinor
Dorrance Ingersoll in 1969. It is one of Gentileschi's lesser known works, but her use of lighting, characterization, and style help in successfully portraying Esther as a biblical heroine as well as the main protagonist of the work.
332:. As one of the only prominent women in the Baroque era, Gentileschi's work is very well known. Her consistent motifs of women having power over men and even killing them is possibly a revenge narrative linked to the fact that Gentileschi was raped by her father's friend
383:, placing himself as the figure of the female mythological creature. Ahasuerus is characterized as a "modish dandy of a type", a depiction Caravaggio would use to represent "superficiality". In juxtaposition to the King, Esther is majestic in her swooning
363:. The king gravitates towards Esther, the significant figure in the composition. The dynamic between the two figures suggests role-reversal; Esther holds the power of the monarchy, and Ahasuerus is the novice. The role-reversal seen in Artemisia's
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The painting is not specifically dated and the patron or the commissioner of the painting is still unknown. Scholars of Baroque art and Artemisia Gentileschi hold various opinions over when the painting was created; many believe that
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as the fur trim on Ahasuerus's boots, and even in the detailing of the paws that adorn the king's chair. The materials in this painting feel almost real and tangible, which helps to make the scene even more relatable to viewers.
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Artemisia, a Caravaggisti, was also influenced by Caravaggio's works in Rome during her family's sojourn in the city and her father's personal relationship with the artist Caravaggisti sensibilities can be seen in
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Recent research suggests that the painting may have been started during Artemisia's time in Venice, before she moved to Naples. The work is first documented in the collection of
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where Esther is painted to look more like a normal woman rather than an idealized one, while Ahasuerus is made to look more comedic than a king would normally be depicted.
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in Vienna from 1856. The painting was sold to Alessandro Morandotti in 1953, who later sold it to Elinor Dorrance Hill (later Mrs. Stuart H. Ingersoll) in the 1960s.
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Bissell, R. Ward. Artemisia Gentileschi and the Authority of Art: Critical Reading and Catalogue Raisonné. Pennsylvania: Pennsylvania State University Press, 1999.
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Artemisia Gentileschi's paintings are often filled with images of women committing acts of violence against men, especially in her most well known painting,
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Cohen, Elizabeth S. "The Trials of Artemisia Gentileschi: A Rape as History." Sixteenth Century Journal 31, no. 1 (2000): 47–75. Accessed November 9, 2017.
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who was given the training and ability to become a skilled painter, and became one of the most prominent painters of this era because of this.
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Kaufmann, Thomas DaCosta (January 1, 1970). "Esther before Ahasuerus: A New Painting by Artemisia Gentileschi in the Museum's Collection".
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and was trained in her father's workshop along with her brothers, showing more talent than any of them. She was trained in the style of
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Perlove, Shelley (1989). "Guercino's 'Esther Before Ahasuerus' and Cardinal Lorenzo Magalotti, Bishop of Ferrara".
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is reminiscent of Caravaggio's own use of gender ambiguity and gender-reversal in his work. It can be seen in
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Garrard, Mary D. (January 1, 1980). "Artemisia Gentileschi's Self-Portrait as the Allegory of Painting".
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when she was just a teen. Her works also tend to have themes of men objectifying women, as seen in
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The usage of angles in this piece also speaks to how staged it is and represents the style of the
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also seems vague. It is suggested Caravaggio drew from his own face to create the image of
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Bissell, R. Ward (January 1, 1968). "Artemisia Gentileschi-A New Documented Chronology".
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Artemisia Gentileschi and the authority of art: critical reading and catalogue raisonné
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Spike, John T. (January 1, 1991). "Artemisia Gentileschi. Florence, Casa Buonarroti".
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same scene, to which Gentileschi's painting bears some similarities. In Veronese's
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in modern texts). After the king ordered the execution of all Jewish people in the
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Artemisia Gentileschi: The Image of the Female Hero in Italian Baroque Art
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was painted during the 1630s, during Artemisia's first Neapolitan period.
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57:. Statements consisting only of original research should be removed.
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The obstacle race: the fortunes of women painters and their work
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Cohen, "The Trials of Artemisia Gentileschi: A Rape as History”
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Bissell, “Artemisia Gentileschi and the Authority of Art”, 135.
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908:. University Park, Pa.: Pennsylvania State University Press.
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208.3 cm (82.0 in) Ă— 273.7 cm (107.8 in)
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is an example of a work that conveys both of these themes.
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to beg him to spare her people. The painting is now in the
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Posèq, Avigdor W. G (1990). "Caravaggio and the Antique".
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Portrait of a Lady, dressed in a gold embroidered costume
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Artemisia Gentileschi was one of the only women in the
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Judith and her Maidservant with the Head of Holofernes
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Bionda, Claire-Lise (1992), "Artemisia Gentileschi",
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161:Bildindex der Kunst und Architektur ID: 20183815
1310:Saint Januarius in the Amphitheatre at Pozzuoli
402:Gentileschi's rendition of this scene from the
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386:Esther's muscular neck is also comparable to
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1331:Self-Portrait as the Allegory of Painting
228:Artemisia was the eldest child of artist
73:Learn how and when to remove this message
793:The Metropolitan Museum of Art Bulletin
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514:"Richard McBee, Fine Artist and Writer"
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442:List of works by Artemisia Gentileschi
248:The scene in the painting is from the
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904:Bissell, R. Ward (January 1, 1999).
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1280:The Birth of Saint John the Baptist
820:Greer, Germaine (January 1, 2001).
1500:Paintings by Artemisia Gentileschi
706:"Immunity From Seizure: Artemisia"
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745:Voss, Hermann (January 1, 1977).
388:Michelangelo's depiction of Haman
18:Painting by Artemisia Gentileschi
1166:Portrait of a Lady Holding a Fan
1046:Self-Portrait as a Female Martyr
749:(in German). Berlin: Propyläen.
618:. Princeton, N.J: Princeton UP.
192:. It shows the biblical heroine
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1345:Christ and the Woman of Samaria
518:Richard McBee Artist and Writer
1444:Virgin and Child with a Rosary
1039:Self-Portrait as a Lute Player
477:The Metropolitan Museum of Art
256:, the Jewish wife of the king
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1074:Saint Catherine of Alexandria
747:Die malerei des Barock in Rom
1181:Christ Blessing the Children
1144:Mary Magdalene as Melancholy
713:The National Gallery, London
1002:Judith Beheading Holofernes
53:the claims made and adding
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1410:Judith and her Maidservant
1402:Judith and her Maidservant
1202:Judith and Her Maidservant
1159:Portrait of a Gonfaloniere
1031:Judith and her Maidservant
370:Boy with a Basket of Fruit
202:Metropolitan Museum of Art
151:Metropolitan Museum of Art
1324:Saints Proculus and Nicea
1136:Judith Slaying Holofernes
1067:Mary Magdalene in Ecstasy
614:Garrard, Mary D. (1989).
548:"Esther before Ahasuerus"
473:"Esther before Ahasuerus"
329:Judith Slaying Holofernes
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165:The Met object ID: 436453
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824:. London: Tauris Parke.
677:Treves, Letizia (2020).
217:Background on the artist
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1024:Allegory of Inclination
878:The Burlington Magazine
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392:Sistine Chapel ceiling
339:Susanna and the Elders
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1317:Adoration of the Magi
1287:Lot and His Daughters
1273:Clio, Muse of History
1258:Corisca and the Satyr
962:Artemisia Gentileschi
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190:Artemisia Gentileschi
106:Artemisia Gentileschi
1370:(private collection)
1129:Allegory of Painting
644:Artibus et Historiae
574:Artibus et Historiae
260:(sometimes named as
1510:Paintings of Esther
1478:Orazio Gentileschi
1195:Penitent Magdalene
430:Grafen von Harrach
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230:Orazio Gentileschi
123:late 1620s – 1630s
38:possibly contains
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1338:David and Goliath
1017:Portrait of a Nun
994:Madonna and Child
900:, vol. 442, 20–29
884:(1063): 732–734.
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1474:(1997 film)
650:(21): 149.
580:(19): 135.
523:January 16,
398:Iconography
314:(1547–48),
301:Comparisons
291:Baroque era
277:Composition
157:Identifiers
1494:Categories
1297:(Columbus)
1154:(Stamford)
1139:(Florence)
1034:(Florence)
915:0271017872
831:1860646778
724:References
625:0691040508
424:Provenance
350:Influences
316:Tintoretto
234:Caravaggio
139:Dimensions
47:improve it
1471:Artemisia
1439:(Bologna)
1397:(Potsdam)
1302:Cleopatra
1294:Bathsheba
1205:(Detroit)
1103:(Ferrara)
1100:Cleopatra
1092:Cleopatra
970:Paintings
840:901247309
679:Artemisia
557:April 16,
258:Ahasuerus
198:Ahasuerus
132:oil paint
51:verifying
1480:(father)
1413:(Cannes)
1405:(Naples)
1394:Lucretia
1362:(London)
1253:(Naples)
1224:Lucretia
1173:Lucretia
1005:(Naples)
924:38010691
482:April 2,
436:See also
394:fresco.
147:Location
134:, canvas
1458:Related
1176:(Milan)
1095:(Milan)
869:3049963
813:3258546
784:3048529
755:3315452
664:1483388
594:1483288
390:in the
244:Subject
45:Please
1389:(Brno)
1305:(Rome)
1268:(Rome)
1232:Aurora
997:(Rome)
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898:L'Oeil
890:884954
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381:Medusa
376:Medusa
262:Xerxes
254:Esther
194:Esther
128:Medium
108:
102:Artist
1428:1650s
1378:1640s
1242:1630s
1188:Medea
1084:1620s
1010:Danaë
978:1610s
886:JSTOR
865:JSTOR
809:JSTOR
780:JSTOR
709:(PDF)
660:JSTOR
590:JSTOR
448:Notes
172:[
920:OCLC
910:ISBN
836:OCLC
826:ISBN
751:OCLC
683:ISBN
620:ISBN
559:2019
552:UMMA
525:2019
484:2019
120:Year
882:133
857:doi
801:doi
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582:doi
49:by
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