artemisia gentileschi alexandra lapierre

She was likely permitted to attend solely as an onlooker, or to offer some form of entertainment alongside other notable women poets, scholars, singers, and musicians, among them Barbara Strozzi, the most widely published composer of the Baroque period. Considered something of an expert on the artist, Averardo was commissioned by Angelo Fabroni, a leading eighteenth-century Tuscan intellectual (friend of the influential Vatican counsellor Giovanni Gaetano Bottari, acquaintance of Diderot and Rousseau), to contribute an essay on Artemisia to Memorie istoriche di più uomini illustri pisani, which translates-incongruously, as she was neither-to “Historical Memories of Several Illustrious Pisan Men.”ĭecades before her death, from around 1626 to 1630, Artemisia lived and worked in Venice, where she was surrounded by a vibrant circle of writers, including Gian Francesco Loredan, founder of the Accademia degli Incogniti, a radical academy to which Artemisia was linked.

Averardo owned Artemisia’s 1652 Susanna and the Elders, her final rendition of the famous Old Testament scene that was also the subject of her first painting, in 1610. The church was ultimately destroyed by urban renewal after World War II and rebuilt in a neighboring district. In 1812, Alessandro da Morrona wrote that in 1792 Averardo de’ Medici wrote that when the Naples church of San Giovanni dei Fiorentini was restored in the 1780s, Artemisia’s marble funerary slab, with its plain inscription, was unearthed and subsequently broken or buried once more beneath the floor. In life, she also went by the surname Lomi, a nod to the traditional artisans of her Tuscan heritage, which she thought might endear her to the powers and patrons of Florence, where she moved from Rome in 1613, at the age of nineteen. HEIC ARTEMISIA, or HERE LIES ARTEMISIA.Īrtemisia: now commonly referred to by her first name only (Madonna! Cher! Beyoncé!), in order to avoid confusion with that other famous Baroque Gentileschi pittore, her father, Orazio. Clear and simple, forgoing the usual embellishments, such as names of father, husband, and children, dates of birth and death.

The tombstone of Artemisia Gentileschi is said to have read. Artemisia Gentileschi, Self Portrait as Saint Catherine of Alexandria, c.

Artemisia gentileschi alexandra lapierre