Tag Archives: Caravaggio

by Alexandria | 4 May 2019 · 10:21 am

Caravaggio

#ArtSaturday Michelangelo Merisi (Michele Angelo Merigi or Amerighi) da Caravaggio, 1571 1610, Italian painter

Caravaggio by Leoni Bild-Ottavio pic.twitter.com/2tvuqjHiwT

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) May 4, 2019

#ArtSaturday Caravaggio
Caravaggio is most famous for his dramatic realism combined with theatrical lighting which contrasts greatly with the darker portions of his paintings.

Boy with a Bowl of Fruit, 1593 pic.twitter.com/sMqciT8YKz

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) May 4, 2019

#ArtSaturday Caravaggio
Caravaggio is known for his use of chiaroscuro (Italian for light-dark) where the darkness becomes a dominant feature of the images in the painting.

The Cardsharps, 1594 pic.twitter.com/dDwHTNxt93

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) May 4, 2019

#ArtSaturday Caravaggio
Tenebrism, from the Italian “tenebroso” (murky), also called “dramatic illumination,” provides a dramatic contrast between light and dark areas in the paintings.

The Fortuneteller, 1594 pic.twitter.com/B6FQWhIEnQ

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) May 4, 2019

#ArtSaturday Caravaggio
Caravaggio is often credited with inventing chiaroscuro, which eventually became known as tenebrism: dramatic shifts from light to dark in the painting with little blending or gradation of light between the two areas.

St Francis of Assisi in Ecstacy, 1595 pic.twitter.com/LvCQNJD392

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) May 4, 2019

#ArtSaturday Caravaggio
Though Caravaggio is often credited with inventing chiaroscuro, other artists before him had used the technique, including Tintoretto and El Greco.

The Musicians, 1595 pic.twitter.com/Y7xfpahjAY

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) May 4, 2019

#ArtSaturday Caravaggio
Instead of idealizing the sitters for his paintings, Caravaggio painted them extremely realistically, with all their physical flaws, which was considered a radical way of painting and was very controversial in his lifetime.

David and Goliath, 1599 pic.twitter.com/Iip4onXiHk

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) May 4, 2019

#ArtSaturday Caravaggio

David with the Head of Goliath, 1610 pic.twitter.com/sJnhdaquud

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) May 4, 2019

#ArtSaturday Caravaggio
Caravaggio’s peers disdained his method of painting as he did not do extensive drawings beforehand: Caravaggio did no drawings at all; he painted on the canvas while the subject sat for him.

Bacchus, 1595 pic.twitter.com/jUBLBUuxtC

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) May 4, 2019

#ArtSaturday Caravaggio
Caravaggio painted so realistically that when he used local prostitutes as models, viewers were able to identify the women by name, and viewers were outraged that he used prostitutes as models in religious paintings.

Martha and Mary Magdalene, 1598 pic.twitter.com/eZc7DDEBqT

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) May 4, 2019

#ArtSaturday Caravaggio
Caravaggio’s paintings sometimes caused outrage because he showed subjects bare legs.

Nativity with St Francis and St Lawrence (also, The Adoration), 1600 pic.twitter.com/Ep6eDYeNB1

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) May 4, 2019

#ArtSaturday Caravaggio
Contemporaneous critics especially disliked Caravaggio’s use of prostitutes as models for female saints and for the Virgin Mary.

Death of the Virgin, 1604 pic.twitter.com/eDaGNXaZ95

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) May 4, 2019

#ArtSaturday Caravaggio
When Caravaggio’s Jesus reveals himself at supper to his disciples, he is an extremely human figure, i.e., without the usual de rigueur halo

Supper at Emmaus, 1601 pic.twitter.com/00p32gTt6t

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) May 4, 2019

#ArtSaturday Caravaggio

Supper at Emmaus, 1601, detail pic.twitter.com/p46G17WUEF

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) May 4, 2019

#ArtSaturday Caravaggio
Caravaggio’s second version of Supper at Emmaus, 1606, came after a turbulent time in his life, and this may be why the painting is darker, the colors more subdued, and the figures’ gestures more restrained. pic.twitter.com/ohCSxznGju

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) May 4, 2019

#ArtSaturday Caravaggio
During his lifetime, Caravaggio’s critics were often more interested in his personal life and his sexuality than in his work.

The Calling of St Matthew, 1599-1600 pic.twitter.com/ELYwU8eALK

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) May 4, 2019

#ArtSaturday Caravaggio
An early published notice (1605) on Caravaggio mentioned his brawling. In 1606, he killed a young man in a brawl and fled Rome to escape the death sentence.

The Burial of Christ, 1603 pic.twitter.com/rKGuXTUcGu

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) May 4, 2019

#ArtSaturday Caravaggio
Though Caravaggio had established relationships with several prostitutes, he also had male “companions,” some of whom served as models, leading many to accuse Caravaggio of homosexuality, which was illegal.

St John the Baptist in the Wilderness, 1604 pic.twitter.com/oZqGwYBfLf

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) May 4, 2019

#ArtSaturday Caravaggio
Caravaggio painted several versions of St John the Baptist.

1598 (note St John’s attire and the lamb…) pic.twitter.com/doIBE9RLEx

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) May 4, 2019

#ArtSaturday Caravaggio
In 1602, Caravaggio’s St John was displayed nude, full frontal, leering, with a ram… As you can imagine, contemporaneous viewers were shocked and angry. His future St John, though still a youth, was more modest.

St John the Baptist at the Fountain, 1608 pic.twitter.com/cnRitYaK3X

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) May 4, 2019

#ArtSaturday Caravaggio
Despite Caravaggio’s well-known relationships with prostitutes and courtesans, many believed him to be homosexual, and his relationships with attractive young men brought on charges of illegal, i.e., criminal, sexual acts.

Penitent Magdalene, 1594 pic.twitter.com/f8MrNZXK8V

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) May 4, 2019

#ArtSaturday Caravaggio
It was not Caravaggio’s alleged homosexuality (or bi-sexuality) that alienated patrons but his brawls, street-fights, banishment, and murder charges that caused problems with patrons who wanted religious paintings.

Medusa, 1597-98 pic.twitter.com/pBkZe9ZGe0

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) May 4, 2019

#ArtSaturday Caravaggio

Judith Beheading Holofernes, 1599 pic.twitter.com/R5ell7xzQy

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) May 4, 2019

#ArtSaturday Caravaggio

St Paul’s Conversion on the Road to Damascus, 1600 pic.twitter.com/4fDQKmbTna

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) May 4, 2019

#ArtSaturday Caravaggio

Madonna of the Rosary, 1607 pic.twitter.com/noYxjItdKE

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) May 4, 2019

#ArtSaturday Caravaggio

Salome with the Head of John the Baptist, 1607-1610 pic.twitter.com/53myUJiO3O

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) May 4, 2019

#ArtSaturday Caravaggio

Salome, 1609 pic.twitter.com/20MImOD5ZR

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) May 4, 2019

#ArtSaturday Caravaggio
Caravaggio had a fever at the time of his death, though the cause of death was long unknown: syphilis, food poisoning, and malaria have all been proposed over the centuries.

The Taking of Christ, 1604
(The figure at the extreme right is a self-portrait.) pic.twitter.com/gst2ptmebo

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) May 4, 2019

#ArtSaturday Caravaggio
DNA tests and carbon-dating (2010) on Caravaggio’s remains suggest the artist died of fatal wounds and ensuing sepsis: Vatican documents released in 2002 suggest the wounds may have been an enemy’s attempts at castration; Caravaggio killed his attacker. pic.twitter.com/VBzbJ1Qbdp

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) May 4, 2019

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on my Art Saturday page

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Tagged as Caravaggio, Caravaggio's cause of death, chiaroscuro, David and Goliath, Italian painting, Judith with the Head of Holofernes, realistic painting, Salome, St Paul's Conversion on the Road to Damascus, Supper at Emmaus, tenebrism, tenebroso

by Alexandria | 27 October 2018 · 9:37 am

Scary Classic Paintings

#ArtSaturday Scary Classic Paintings, for Halloween
Garden of Earthly Delights (detail), Hieronymous Bosch, 1480 pic.twitter.com/0G94k3JWRL

— Alexandria Constantinova Szeman, Ph.D. 🎃👻 (@Alexandria_SZ) October 27, 2018

#ArtSaturday Scary Classic Paintings, for Halloween
Triptych of Earthly Vanity and Divine Salvation (detail), Hans Memling, 1485 pic.twitter.com/q6xPH9PeAr

— Alexandria Constantinova Szeman, Ph.D. 🎃👻 (@Alexandria_SZ) October 27, 2018

#ArtSaturday Scary Classic Paintings, for Halloween
The Flaying of Marsyas, Titian, 1570 pic.twitter.com/kKhykMx7kD

— Alexandria Constantinova Szeman, Ph.D. 🎃👻 (@Alexandria_SZ) October 27, 2018

#ArtSaturday Scary Classic Paintings, for Halloween
Judith Beheading Holofernes, Caravaggio, 1588 pic.twitter.com/mI7At7HaHE

— Alexandria Constantinova Szeman, Ph.D. 🎃👻 (@Alexandria_SZ) October 27, 2018

#ArtSaturday Scary Classic Paintings, for Halloween
Medusa, Caravaggio, 1597 pic.twitter.com/IXY1FDT0QO

— Alexandria Constantinova Szeman, Ph.D. 🎃👻 (@Alexandria_SZ) October 27, 2018

#ArtSaturday Scary Classic Paintings, for Halloween
David with the Head of Goliath, Caravaggio, 1606 pic.twitter.com/hLDzofYrXM

— Alexandria Constantinova Szeman, Ph.D. 🎃👻 (@Alexandria_SZ) October 27, 2018

#ArtSaturday Scary Classic Paintings, for Halloween
Massacre of the Innocents, Peter Paul Rubens, 1611-12 pic.twitter.com/uIo6ZkT5Ng

— Alexandria Constantinova Szeman, Ph.D. 🎃👻 (@Alexandria_SZ) October 27, 2018

#ArtSaturday Scary Classic Paintings, for Halloween
Judith and Holofernes, Artemisia Gentileschi, 1620 pic.twitter.com/4cFRb4UJe5

— Alexandria Constantinova Szeman, Ph.D. 🎃👻 (@Alexandria_SZ) October 27, 2018

#ArtSaturday Scary Classic Paintings, for Halloween
Saturn, Jupiter’s Father, Devours One of His Sons, Peter Paul Rubens, 1636 pic.twitter.com/LCSPy4W89u

— Alexandria Constantinova Szeman, Ph.D. 🎃👻 (@Alexandria_SZ) October 27, 2018

#ArtSaturday Scary Classic Paintings, for Halloween
The Temptation of St Anthony, Salvator Rosa, 1645 pic.twitter.com/kxLmqrFQ4c

— Alexandria Constantinova Szeman, Ph.D. 🎃👻 (@Alexandria_SZ) October 27, 2018

#ArtSaturday Scary Classic Paintings, for Halloween
The Nightmare, Henry Fuseli, 1781 pic.twitter.com/rUXSTUUjXc

— Alexandria Constantinova Szeman, Ph.D. 🎃👻 (@Alexandria_SZ) October 27, 2018

#ArtSaturday Scary Classic Paintings, for Halloween
Severed Heads, Severed Arms and Legs (Anatomical Studies), Théodor Géricault 1818-1819 pic.twitter.com/TRRWjEGXn5

— Alexandria Constantinova Szeman, Ph.D. 🎃👻 (@Alexandria_SZ) October 27, 2018

#ArtSaturday Scary Classic Paintings, for Halloween
The Ghost of a Flea, William Blake, 1819 pic.twitter.com/8qimxyZg6Y

— Alexandria Constantinova Szeman, Ph.D. 🎃👻 (@Alexandria_SZ) October 27, 2018

#ArtSaturday Scary Classic Paintings, for Halloween
Saturn Devouring His Son, Francisco Goya, 1819 pic.twitter.com/GzWIMSF5zo

— Alexandria Constantinova Szeman, Ph.D. 🎃👻 (@Alexandria_SZ) October 27, 2018

#ArtSaturday Scary Classic Paintings, for Halloween
Untitled, Katsushika Hokusai, 1830 pic.twitter.com/eM3BV2cWD5

— Alexandria Constantinova Szeman, Ph.D. 🎃👻 (@Alexandria_SZ) October 27, 2018

#ArtSaturday Scary Classic Paintings, for Halloween
Scary Spider, Odilon Redon, 1881 pic.twitter.com/EZlFCwYNBm

— Alexandria Constantinova Szeman, Ph.D. 🎃👻 (@Alexandria_SZ) October 27, 2018

#ArtSaturday Scary Classic Paintings, for Halloween
Head of a Skeleton with Burning Cigarette, Vincent Van Gogh, 1886 pic.twitter.com/JOHsXvVQ03

— Alexandria Constantinova Szeman, Ph.D. 🎃👻 (@Alexandria_SZ) October 27, 2018

#ArtSaturday Scary Classic Paintings, for Halloween
The Scream, Edvard Munch, 1893 pic.twitter.com/RMWHLmDdRa

— Alexandria Constantinova Szeman, Ph.D. 🎃👻 (@Alexandria_SZ) October 27, 2018

#ArtSaturday Scary Classic Paintings, for Halloween
The Face of War, Salvador Dali, 1940 pic.twitter.com/23TYfqswee

— Alexandria Constantinova Szeman, Ph.D. 🎃👻 (@Alexandria_SZ) October 27, 2018

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Filed under #ArtSaturday, Art, Art History, Halloween

Tagged as anatomical studies, artemisia gentileschi, Caravaggio, david with the head of goliath, flaying of marsyas, francisco goya, garden of earthly delights, hans memling triptych of earthly vanity and divine salvation, head of a skeleton with burning cigarette, henry fuseli, hieronymous bosch, judith and holofernes, judith beheading holofernes, katsushika hokusai, massacre of the innocents, medusa, odilon redon, peter paul rubens, salvador dali, salvator rosa, saturn devouring his son, scary spider, severed arms and legs, severed heads, spider with head of a man, temptation of st anthony, the face of war, the ghost of a flea, the nightmare, the scream edvard munch, théodor géricault, titian, van gogh, william blake

by Alexandria | 29 September 2018 · 10:32 am

Artemesia Gentileschi

#ArtSaturday Artemesia Gentileschi
1593-1656 Italian Baroque painter, influenced by the work of Caravaggio

Self-Portrait as Allegory of Painting, 1638-39 pic.twitter.com/jWCggfnVS7

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) September 29, 2018

#ArtSaturday Artemesia Gentileschi
Gentileschi learned painting in her father’s studio, where she proved much more talented than her brothers.

Susanna and the Elders (first known work), 1610 pic.twitter.com/z8CHMiC95L

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) September 29, 2018

#ArtSaturday Artemesia Gentileschi
1611: Gentileschi’s father was involved in a time-consuming commission, so he hired Agostino Tassi to be her private tutor and to continue her lessons.

Madonna and Child (also, Virgin and Child), 1610 pic.twitter.com/tn5ewbENp1

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) September 29, 2018

#ArtSaturday Artemesia Gentileschi
1610-1611: Gentileschi was violently raped by her tutor, Agostino Tassi. Some scholars suspect another man was also involved.

St Cecelia Playing a Lute, 1610 pic.twitter.com/mR3RIWVTxq

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) September 29, 2018

#ArtSaturday Artemesia Gentileschi
Gentileschi’s father assumed that the rapist Tassi would marry Artemesia, which would have “restored” her honor and reputation.

Mother and Child, 1612
(woman’s wound, inflicted by male, is considered by many to be an allegory of Tassi’s rape) pic.twitter.com/6N19myOcUA

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) September 29, 2018

#ArtSaturday Artemesia Gentileschi
Gentileschi’s father expected that Tassi would marry his daughter, so Tassi continued having sexual relations with Artemesia. It is not known whether these relations were consensual.

Judith Slaying Holofernes, Naples version, 1612 pic.twitter.com/tZy9dPrK5R

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) September 29, 2018

#ArtSaturday Artemesia Gentileschi
9 months after the rape, when Tassi refused to honor his promise to marry Artemesia, Gentileschi’s father sued Tassi for rape.

Mary Magdalene in Ecstacy, 1613 pic.twitter.com/uZEqscNl49

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) September 29, 2018

#ArtSaturday Artemesia Gentileschi
Gentileschi’s father sued Tassi for rape on the grounds that his daughter had been a virgin: had she not been a virgin, her father would have been unable to sue her rapist.

Judith and Her Maidservant with the Head of Holofernes, 1613 pic.twitter.com/TfTgt06xPF

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) September 29, 2018

#ArtSaturday Artemesia Gentileschi
The rape trial lasted several months. During the trial, Gentileschi was subjected to a gynecological examination and tortured with thumbscrews to ensure she was telling the truth.

Judith Slaying Holofernes, 1614 (Florence version) pic.twitter.com/tUlWbsr3N3

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) September 29, 2018

#ArtSaturday Artemesia Gentileschi
Though Tassi was found guilty of raping Gentileschi and sentenced to prison for 5 years and exile from Rome, he was never actually punished for the crime.

Self-Portrait as a Lute Player, 1615 pic.twitter.com/x3KyUwVTrV

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) September 29, 2018

#ArtSaturday Artemesia Gentileschi
A month after Tassi was found guilty and sentenced for the rape of Gentileschi, her father arranged a marriage for her to another artist.

Self-Portrait, 1615 pic.twitter.com/dnUnzlyPTa

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) September 29, 2018

#ArtSaturday Artemesia Gentileschi
Gentileschi and her husband moved to Florence where she became a successful court painter: she was financially rewarded and artistically respected.

Self-Portrait as a Female Martyr, 1615 pic.twitter.com/6UgQEhh2sR

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) September 29, 2018

#ArtSaturday Artemesia Gentileschi
1618: Gentileschi had a daughter, whom she named Prudentia (sometimes called Palmira), whom Gentileschi trained to be a painter.

Allegory of Inclination, 1615 pic.twitter.com/8fKR89cLn3

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) September 29, 2018

#ArtSaturday Artemesia Gentileschi
1618-1620: Gentileschi had a passionate love affair with wealthy Florentine merchant Francesco Maria Maringhi. Her husband knew about the affair and apparently did not object.

Virgin Nursing the Child, 1616-1618 pic.twitter.com/Gz59CP12Wn

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) September 29, 2018

#ArtSaturday Artemesia Gentileschi
Despite her own artistic and financial success, Gentileschi had difficulties with her husband’s financial excesses and all his creditors. In 1921, she separated from him and returned to Rome.

The Penitent Magdalene, 1615 pic.twitter.com/QOJN1L1H0F

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) September 29, 2018

#ArtSaturday Artemesia Gentileschi
As an artist, Gentileschi is known for convincingly and realistically depicting the female figure, at a time when women’s bodies and faces were idealized in art.

Mary Magdalene, 1617 (Pitti version) pic.twitter.com/gRh63RkUV8

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) September 29, 2018

#ArtSaturday Artemesia Gentileschi
Gentileschi often depicts women who are said to resemble her physically and facially, and who are misunderstood or portrayed negatively in the Bible or other sources.

Jael and Sisera, 1620 pic.twitter.com/mGkkGQs9SV

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) September 29, 2018

#ArtSaturday Artemesia Gentileschi
Because Gentileschi painted multiple versions of Judith and Holofernes, during and after the beheading, many male critics have claimed that Gentileschi had “repressed anger” for her rapist Tassi.

Judith, 1612, 1613, 1614 pic.twitter.com/oETwRU2yK8

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) September 29, 2018

#ArtSaturday Artemesia Gentileschi
Many women and other feminist art historians recognize that Gentileschi’s anger was justified, and contribute her portrayal of strong women characters to her being a woman, a woman painter, and a woman who had been raped.

Lucretia, 1621 pic.twitter.com/IkGh6W05kh

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) September 29, 2018

#ArtSaturday Artemesia Gentileschi
Some art historians view her portrayal of violent, sexually charged female characters as “catering” to the predominantly male patrons of the time.

Susanna and the Elders, 1622 pic.twitter.com/asldwSyg7R

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) September 29, 2018

#ArtSaturday Artemesia Gentileschi
During her lifetime, her own rape and prosecution of her rapist overshadowed her own talent as an artist and her work.

Judith and Her Maidservant with the Head of Holofernes, 1625 pic.twitter.com/NMR5ueOeoC

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) September 29, 2018

#ArtSaturday Artemesia Gentileschi
Gentileschi’s rape, the expectation that her rapist must marry her in order to restore her honor, and her treatment during the trial led to a feminist view of Gentileschi’s work in the past 50 years.

Cleopatra, 1633 pic.twitter.com/QGMPOQkzKm

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) September 29, 2018

#ArtSaturday Artemesia Gentileschi
Appreciation for her art during her lifetime slowly dwindled, leaving her only mostly commissions for portraits and for depictions of biblical figures.

Lot and His Daughters, 1635-38 pic.twitter.com/lhOxthRiRc

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) September 29, 2018

#ArtSaturday Artemesia Gentileschi

Samson and Delilah, 1638 pic.twitter.com/sHiMlqRCUX

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) September 29, 2018

#ArtSaturday Artemesia Gentileschi

David and Bathsheba, 1640 pic.twitter.com/lcBunuKc8O

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) September 29, 2018

#ArtSaturday Artemesia Gentileschi

Bathsheba at her Bath, 1640-45 pic.twitter.com/ed4Q0NZ9ai

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) September 29, 2018

#ArtSaturday Artemesia Gentileschi
Long considered a “curiosity” because her rape and the trial overshadowed all of her work, Gentileschi is now considered one of the most expressive and talented artists of her generation.

Virgin and the Child with a Rosary, 1651 pic.twitter.com/mKaJp6Kdy5

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) September 29, 2018

#ArtSaturday Artemesia Gentileschi
Previously thought to have died in 1652 or 1653, it was later learned that she was still accepting commissions as late as 1654. It is now surmised that she may have died in the great Plague of 1656.

Self-Portrait, as Allegory of Painting, 1637 pic.twitter.com/EbSQl5vUe1

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) September 29, 2018

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Filed under #ArtSaturday, Art, Art History

Tagged as agostino tassi, baroque artists, baroque painters, Caravaggio, female artists, female painters, judith beheading holofernes, rape, rape trial, susanna and the elders

by Alexandria | 24 June 2013 · 7:53 am

Caravaggio & Vermeer & R.E.M.’s “Losing My Religion”

The last weekend of March, I went to San Francisco to see Vermeer’s famous Girl with a Pearl Earring and other famous paintings from the Dutch Golden Age. I’d hoped to see more of Vermeer’s paintings, like The Milkmaid,

or his Woman in Blue, Reading a Letter,

or his Woman with a Balance,

but the only Vermeer in the exhibit was his most famous: Girl with a Pearl Earring, considered the Dutch Mona Lisa. And she was beautiful.

Since I’m getting ready to do a blog on the exhibit, and those painters were hugely influenced by Italian Renaissance painter Michelangelo Merisi da Caravaggio — another one of my favorite painters, with his dramatic, virtually theatrical lighting — I thought I’d look at some of his paintings again.

He dealt with both secular and religious subjects, but his religious ones seem to be the most popular. I love his Judith Beheading Holfernes,

his The Entombment of Christ,

his The Calling of St. Matthew,

his David Beheading Goliath,

as much as I love his mythological Narcissus.

Looking over Caravaggio’s wondrous paintings again brought to mind R.E.M.’s marvelous visual tribute to that influential painter, their video for “Losing My Religion.”

Lovely.
Do they even make music videos that look like Renaissance paintings any longer?