158:. She was raped by the Roman nobleman Sextus Tarquinius, a relative of her husband, who threatened her with murder and the public humiliation of her corpse if she resisted. Given the risk of defamation she gave in to his sexual demands, but afterwards reported the attack to her husband and father before taking her own life. In doing so, she retained her honor and virtue (according to Roman beliefs). Her suicide led to a rebellion that brought down the Etruscan monarchy and marked the beginning of the Roman Republic.
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hand, was not required to undergo a similar experience and while ultimately convicted and banished, the sentence was not enforced. Like
Lucretia, Artemisia Gentileschi made painful sacrifices to maintain her honor and virtue. While some scholars believe that Artemisia would have used her own experience to depict the anguish on the subject's face (which may possibly represent a self-portrait), others observe a woman who, like Artemisia, was determined to choose her own destiny.
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disarray, in reference to the recent act of violence. With a powerful and realistic physicality, she grasps her left breast with her right hand, with the dagger in the other. Contemporary depictions of
Lucretia by male artists often portrayed her in an erotic manner, while Gentileschi distinguished her work by depicting a brave, anguished woman.
192:. Tassi promised marriage following the rape, which would have spared Artemisia the shame of being considered "impure" according to contemporary standards. However, he declined to uphold his promise and the Gentileschi family took him to court, accusing him of rape and other crimes against the family.
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Gentileschi distinctly employs this method by contrasting a bright, almost glowing
Lucretia against a dark, shadowy setting. This style creates a somber tone while heightening the drama of the scene. The light centered on Lucretia may also symbolize her virtue and purity. Garrard observes a return to
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A restoration of the painting was undertaken in 1991, which identified significant overpainting. A few years later, strips of canvas which had been added in the late 18th century to all sides of the painting were removed in an attempt to restore it to its original condition. Debate remains however as
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During the trial, Artemisia was subjected to torture as part of her testimony in order to prove she was telling the truth. Metal rings were placed around her fingers and tightened while she spoke, causing agonizing pain and potentially jeopardizing her blossoming painting career. Tassi, on the other
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seated alone in a darkened room on a bed, with her eyes cast upwards and a distressed expression. The figure is facing to the right and strongly lit from the left, highlighting her face, exposed chest and right leg, as well as the blade of a dagger. Both the red velvet bedding and her clothes are in
123:, at the moment of her suicide. The decision to take her own life was made after she was blackmailed and raped by Sextus Tarquinius, a fellow soldier of Collatinus. It is one of a number of paintings of Gentileschi that focus on virtuous women ill-treated by men.
239:. It remained in the Gentile family collection until the early 19th century, at which point it is recorded in the Adorno collection. It passed to the collection of Piero Pagano in the 1980s, from whom it was purchased in 2001 by the current owner.
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Jennifer Higgie, The Mirror and the
Palette : Rebellion, Revolution and Resilience : 500 Years of Women's Self-Portraits, Londres, Weidenfeld & Nicolson, 2022 (1re éd. 2021), 328 p. (ISBN
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The painting was painted between 1623 and 1625. It is currently in the collection of
Gerolamo Etro, Milan. It is one of several paintings of Lucretia that Gentileschi produced during her career.
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In May 1611 at the age of 17 years old, Artemisia
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to whether the excised pieces were original, with some noting that the painting now seems unbalanced in its current form.
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this
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This article is about the painting completed in 1625. For other paintings of the subject by the same artist, see
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The painting was known to be in the collection of Pietro
Gentile until 1640–1641, hanging in Palazzo Gentile in
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Lucretia was an ancient Roman heroine, known for her beauty and modesty. According to legend as documented by
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Artemisia
Gentileschi and the authority of art : critical reading and catalogue raisonné
279:. New York; New Haven: Metropolitan Museum of Art ; Yale University Press. p. 361.
208:. His style is characterized by the juxtaposition of extreme darks and lights, also known as
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Artemisia
Gentileschi around 1622 : the shaping and reshaping of an artistic identity
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389:"Long Seen As Victim, 17th Century Italian Painter Emerges As Feminist Icon"
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Artemisia Gentileschi is known as one of the most gifted followers of
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366:. University Park, Pa.: Pennsylvania State University Press.
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Portrait of a Lady, dressed in a gold embroidered costume
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Christiansen, Keith; Mann, Judith Walker (2001-01-01).
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Judith and her Maidservant with the Head of Holofernes
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604:Self-Portrait as Saint Catherine of Alexandria
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442:. Berkeley: University of California Press.
111:is a painting by the Italian baroque artist
346:. London: The National Gallery Company Ltd.
184:The rape and trial of Artemisia Gentileschi
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882:Self-Portrait as the Allegory of Painting
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249:List of works by Artemisia Gentileschi
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831:The Birth of Saint John the Baptist
1051:Paintings by Artemisia Gentileschi
469:"Immunity From Seizure: Artemisia"
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311:"Lucretia: Ancient Roman Heroine"
16:Painting by Artemisia Gentileschi
717:Portrait of a Lady Holding a Fan
597:Self-Portrait as a Female Martyr
414:"Caravaggio Style and Technique"
276:Orazio and Artemisia Gentileschi
101:Lucretia (Artemisia Gentileschi)
896:Christ and the Woman of Samaria
474:. The National Gallery, London.
166:The painting shows Lucretia in
995:Virgin and Child with a Rosary
590:Self-Portrait as a Lute Player
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129:It is assumed that this is a
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618:Mary Magdalene in Ecstasy
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868:Adoration of the Magi
838:Lot and His Daughters
824:Clio, Muse of History
809:Corisca and the Satyr
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680:Allegory of Painting
1066:Paintings in Milan
1029:Orazio Gentileschi
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387:Poggioli, Sylvia.
300:978-1-4746-1379-8)
190:Orazio Gentileschi
168:three-quarter view
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1025:(1997 film)
210:chiaroscuro
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137:Description
1045:Categories
848:(Columbus)
705:(Stamford)
690:(Florence)
585:(Florence)
449:0520228413
418:artble.com
373:0271017872
286:1588390063
260:References
225:Provenance
206:Caravaggio
156:Collatinus
121:Collatinus
71:Dimensions
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845:Bathsheba
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654:(Ferrara)
651:Cleopatra
643:Cleopatra
521:Paintings
344:Artemisia
236:Cleopatra
214:Lucretia,
1031:(father)
964:(Cannes)
956:(Naples)
945:Lucretia
913:(London)
804:(Naples)
775:Lucretia
724:Lucretia
556:(Naples)
423:29 March
398:29 March
320:29 March
243:See also
117:Lucretia
108:Lucretia
24:Lucretia
1009:Related
727:(Milan)
646:(Milan)
393:npr.org
221:style.
219:maniera
150:in his
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739:Medea
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561:Danaë
529:1610s
472:(PDF)
231:Genoa
212:. In
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79:Owner
444:ISBN
425:2021
400:2021
368:ISBN
322:2021
281:ISBN
148:Livy
55:Year
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