Gender Studies. Were There Any Important Women During The Renaissance Period?

Gender Studies : Were There Any Important Women During The Renaissance Period

Im doing a research paper on famous artists that lived during the Renaissance period, but my teacher gave us a male-only list. Im sure she wasnt trying to be sexist, but she mightve had trouble finding important women during that time. Does anyone happen to know of one well-known female artist? ~~~ Godaime ~~~

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Her paintings are now at the Uffizzi in Florence, Italy as well as the Vatican in Rome. She is considered an Early Baroque painter but she painted during the Renaissance as well. Artemisia Gentileschi (1593-1652) An impassioned artist, Artemisia was born in Rome at the end of the cinquecento. Eldest daughter of the painter Orazio Gentileschi, Artemisia became one of the most accomplished followers of Caravaggio. She had been exposed to art at an early age and it was her father who provided and supported her artistic development. When further instruction was required for the study of perspective, a private tutor, Agostino Tassi was hired. Although her painting of Susanna and The Elders (1610) displays a decidedly feminine point of view, Artemisia is best known for her dark scenes of graphic violence. Feminist art historians have pointed out that perhaps these depictions of violence express violence which had been imposed upon the artist. This connection is linked to the fact that at 19 years of age, Artemisia was allegedly raped by her instructor, Tassi. The trial which resulted was quite sensational and did more harm to Artemisia than to her assailant. She was tortured by thumbscrews in an attempt to verify her allegations but in the end Tassi was eventually acquitted. One month after the trial, Gentileschi married and moved to Florence where she achieved considerable success and produced some of her finest paintings. She received a large commission for a painting at Casa Buonarroti and enjoyed the support of the Medici family. In 1616, she became a member of the Accademia del Disego despite womens lack of acceptance in the formal art institutions. Artemisia returned to Rome in 1620 but relocated to Naples in 1630 where she spent the remainder of her life living in comfort and enjoying the patronage of nobility. While she was mainly known as a portrait painter, it was Artemisias dramatic history/religious paintings which earned her the reputation of artist extra ordinaire. Bio by Lisa MacDonald An excerpt from Gentileschi by Mary Garrard Powerful though it is, Artemisias Uffizi Judith has been little admired and much criticized. It was hidden away in the eighteenth century because the Grand Duchess Maria Luisa de Medici could not stand to see such a horror; in the nineteenth century the writer Anna Jameson described it as "a dreadful ; Today, the painting hangs in an inaccessible stairwell of the museum, not on public display. Why should Artemisias picture have been considered excessively violent when Caravaggios equally violent art was often snapped up by collectors and praised by critics? The answer is clear enough: her Judith offends because it presents a socially unacceptable violence, the murder of a man by women who carry out the action so purposefully they may seem as much vindictive as heroic. This chilling image of female retribution has, in fact, been interpreted by some writers as Artemisias imagined revenge against the man who raped her several years earlier. In 1612, Orazio Gentileschl brought suit against his friend, the artist Agostino Tassi for the rape of his daughter, initiating a now-famous trial that lasted seven months. The extensive trial testimony has been preserved, material that makes quite clear that Artemisia endured sexual harassment and intimidation from Tassi and other men as well. Artemisias experience was not unusual, for rape and violence against women were as commonplace in seventeenth century Italy as they still are, unfortunately, today. What is unusual is that she was able to use that experience as emotional raw material for the creation of radically subversive images of the biblical character (she painted at least four versions of the Judith theme) whose story gives full vent to the principle of violent punishment for a violent act. Artemisias Judith paintings are powerful images, resisted by many who find the occasional violence perpetrated by women more shocking than the ubiquitous violence practiced by men. (A modern equivalent both in its plot and the critical response it provoked is the 1991 film Thelma and Louise.) Yet we need not advocate murder as an appropriate punishment for rape to recognize the psychic catharsis provided by Artemisia, for herself and for all women who live in male-dominant cultures, in her images of strong, self motivated women who -unusually in art- take physical action upon men rather than being acted upon by them.

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Answer 1

Her paintings are now at the Uffizzi in Florence, Italy as well as the Vatican in Rome. She is considered an Early Baroque painter but she painted during the Renaissance as well. Artemisia Gentileschi (1593-1652) An impassioned artist, Artemisia was born in Rome at the end of the cinquecento. Eldest daughter of the painter Orazio Gentileschi, Artemisia became one of the most accomplished followers of Caravaggio. She had been exposed to art at an early age and it was her father who provided and supported her artistic development. When further instruction was required for the study of perspective, a private tutor, Agostino Tassi was hired. Although her painting of Susanna and The Elders (1610) displays a decidedly feminine point of view, Artemisia is best known for her dark scenes of graphic violence. Feminist art historians have pointed out that perhaps these depictions of violence express violence which had been imposed upon the artist. This connection is linked to the fact that at 19 years of age, Artemisia was allegedly raped by her instructor, Tassi. The trial which resulted was quite sensational and did more harm to Artemisia than to her assailant. She was tortured by thumbscrews in an attempt to verify her allegations but in the end Tassi was eventually acquitted. One month after the trial, Gentileschi married and moved to Florence where she achieved considerable success and produced some of her finest paintings. She received a large commission for a painting at Casa Buonarroti and enjoyed the support of the Medici family. In 1616, she became a member of the Accademia del Disego despite womens lack of acceptance in the formal art institutions. Artemisia returned to Rome in 1620 but relocated to Naples in 1630 where she spent the remainder of her life living in comfort and enjoying the patronage of nobility. While she was mainly known as a portrait painter, it was Artemisias dramatic history/religious paintings which earned her the reputation of artist extra ordinaire. Bio by Lisa MacDonald An excerpt from Gentileschi by Mary Garrard Powerful though it is, Artemisias Uffizi Judith has been little admired and much criticized. It was hidden away in the eighteenth century because the Grand Duchess Maria Luisa de Medici could not stand to see such a horror; in the nineteenth century the writer Anna Jameson described it as "a dreadful ; Today, the painting hangs in an inaccessible stairwell of the museum, not on public display. Why should Artemisias picture have been considered excessively violent when Caravaggios equally violent art was often snapped up by collectors and praised by critics? The answer is clear enough: her Judith offends because it presents a socially unacceptable violence, the murder of a man by women who carry out the action so purposefully they may seem as much vindictive as heroic. This chilling image of female retribution has, in fact, been interpreted by some writers as Artemisias imagined revenge against the man who raped her several years earlier. In 1612, Orazio Gentileschl brought suit against his friend, the artist Agostino Tassi for the rape of his daughter, initiating a now-famous trial that lasted seven months. The extensive trial testimony has been preserved, material that makes quite clear that Artemisia endured sexual harassment and intimidation from Tassi and other men as well. Artemisias experience was not unusual, for rape and violence against women were as commonplace in seventeenth century Italy as they still are, unfortunately, today. What is unusual is that she was able to use that experience as emotional raw material for the creation of radically subversive images of the biblical character (she painted at least four versions of the Judith theme) whose story gives full vent to the principle of violent punishment for a violent act. Artemisias Judith paintings are powerful images, resisted by many who find the occasional violence perpetrated by women more shocking than the ubiquitous violence practiced by men. (A modern equivalent both in its plot and the critical response it provoked is the 1991 film Thelma and Louise.) Yet we need not advocate murder as an appropriate punishment for rape to recognize the psychic catharsis provided by Artemisia, for herself and for all women who live in male-dominant cultures, in her images of strong, self motivated women who -unusually in art- take physical action upon men rather than being acted upon by them.

Answer 2

were their any important women EVER?

Answer 3

Artemisia Gentileschi (described above) is the best known woman artist of the period. But there were others who made their mark. Sofanisba Anguissola (1532-1625) of Cremona, Italy, was the first woman artist to establish an international reputation. she is important for her innovative portrait work and her possibl einfluence on later Spanish and Italian portraiture. In 1559 she was brought to the attention of the Spanish court. She was escorted to Spain with great ceremony and remained there as court painter and lady-in-waiting to the Queen, Elizabeth of Valois, for at least ten years. The king also rpovided her with a substantial dowry and possibly arranged her marriage to a rich Sicilian nobleman. All this gained her fabuous wealth and an international reputation which wree of great historical importance as an encouragement to later women artists. A total of about 50 extant works signed or securely attributed to Sofanisbia are now in museums and private collections. Lavinia Fontana (1552-1614) of Bologna, Italy, was an extremely succesful and prolific artist with an interantional reputation. Over 100 of her paintings survive today. In her lifetime her paintings were sent to Spain, Germany, and even Persia. She was the daughter of the painter Prospero Fontana, one of the leading painters of Bologna. She was trained by her father and had access to the works of other noted artist in the cosmopolitan atmosphere of Bologna. She produec her fist acknowledge painting in 1575. From that time she produced a steady stream of paintings of various types - portraits, religious works, histories and mythologies. She went to Rome around 1603 where she became an official painter to the court of Pope Clement VIII, producing history and mythological paintings, as well as portrait of Pope Paul V and numerous ambassardors, princes, and cardinals. Marietta Robusti (1560-1590), known as La Tintoretta was an internationally famous painter in her time. She was the oldest child of the important Venetian painter, Jacopo Robusti, known as "Tintoretto". Her Portrait of Jacopo Strada, Emperor Maximilians antiquarian, so impressed to empeor that she was invited to his court as painter. She was later invited to the court of Philip II of Spain and was also known to Archduke Ferdinand. Another woman painter of the period who was much admired in her own lifetime was Fede Galizia (1578-1630), who produced both portraits and religious paintings, and later in her career became one of Italys earliest still life painters.