Keri Miller

Orazio and Artemisia Gentileschi are father and daughter artists from Rome who painted in the Caravaggesque style. Orazio was born in Pisa in 1563 and died in 1639. Although there was a tradition of artists in Orazio's family, he was almost forty before he received success. He started out in the Mannerist style, but this soon changed upon his meeting and befriending of Caravaggio. R. Ward Bissell states, "Gentileschi had not yet developed a mature manner to which he was unequivocally committed. Thus sometime before 1605, in his Baptism of Christ, Orazio began to utilize elements form Caravaggio's art" (Bissel,12). Keith Christiansen agrees and states, "[Orazio's] figures were types, his compositions conventional; his color was slack. There is a blandness, an anonymity, and disturbing lack of conviction to his work of the 1590s that comes as a shock to those who know only his distinctive, post-Caravaggesque pictures" (Christiansen, 5). After Caravaggio's inspiration and influence Orazio became one his most successful followers. The new similarity between the two artists' styles and Orazio's departure from Mannerism can be seen when comparing their David and Goliaths and a typical Mannerist painting, Parmigianino's Madonna with a Long Neck.

The inclusion of a typical Mannerist painting is also important because it shows where Orazio has come from stylistically, which will have effect on his Caravaggesque work and which will become important as he returns to his earlier tendencies later in his career. The Mannerist style was a reaction to the set ideals and harmonizing rules of the Renaissance period. Thus, upon comparison of all three works Orazio leaves the Mannerist style depicted in Madonna with Long Neck and its "play" with established order, contorted figures, unrealistic proportions of figures in favor of the more dramatic, realistic renderings of the Caravaggesque style.

When comparing only Caravaggio's and Orazio's work, the most noticeable shared quality is that the two David pictures both portray David and Goliath's head in monumental form with an air of tragic, violent realism. For Orazio's pictures at this time, "employ Caravaggio's use of dramatic, unconventional gesture and monumental composition, his uncompromising realism and contemporary representation of figure types, and to some extent his strong chiaroscuro, or light-and-dark contrast" (Britannica Online, Orazio Gentileschi). However, there are also many differences between the pair. Gentileschi's own style still comes through. Gentileschi's great talent for portraying textures is seen in the sheep skin clothing, and his tendency for soft, luminous light is also pronounced, though it is balanced by Caravaggesque realistic chiaroscuro and slight tenebrism.

After Orazio's swift turn in the direction of Caravaggesque realism and tenebrism, Gentileschi backed off a little and developed his own sense of style in his unique lyricism. He also began to tend towards a lighter colors and "a more precise treatment reminiscent of his Mannerist beginnings" (Britannica Online, Orazio Gentileschi). Web Gallery of Art claims, "Gentileschi's work does not have the power and uncompromising naturalism of Caravaggio, tending rather towards the lyrical and refined. His graceful figures are stately and clearly disposed, with sharp-edged drapery-qualities recalling his Tuscan heritage of superb elegance and draughtsmanship." (Harris, Grove Art). These developments may perhaps be seen in his Annunciation.

Like all painters Orazio traveled in his artistic work and study, helping spread the Caravaggesque, as well as his own unique poetic, refined style. In 1612 Orazio moved from Rome to the Marches, employed by the Fabriano cathedral in the completion of some altarpieces and frescos. Nine years later, in 1621, Orazio then moves on to Genoa by the invitation of a Nobleman, Sauli. It was here in Genoa where he enjoyed great success and patronage. Indeed, his masterpiece Annunciation was painted there. Annunciation was considered his greatest work. The artist depicts the moment of conception when the Virgin Mary is told of her destiny as the mother of God. The dove soaring in through the window represents the blessing and grace of God in her conception. The lily is also symbolic of the virgin. The painting illustrates Orazio's particular tendencies toward softly illuminating light, as well as his talents for texture in the scarlet draperies and gowns. Orazio still uses some Caravaggesque in its drama; However the style had begun to die out in the 1620s in favor of more graceful, courtly paintings commissioned by aristocrats. Orazio follows this trend and in the portrayal of his own unique Tuscan lyrical style. Britannica Online states, "The composition still depends on dramatic gesture, her of the Virgin and the angel, and there is still strong immediacy to the incident and an absence of idealization. The mood, however, is more restrained and lyrical than in his earlier work, the colours are light, and the earlier chiaroscuro is absent" (Britannica Online, Orazio Gentileschi).

Although Orazio was perhaps the more acceptable artist in the 17^th contemporary society, it is Artemisia who is remembered and honored in the modern era. Artemisia Gentileschi was the daughter of Orazio born in 1593 in Rome. Since Orazio was Artemisia's primary teacher, she followed in her father's footsteps. Consequentially, both are masters at depicting the Caravaggesque. But Artemisia departs from her father in the display a greater sense of drama and theatre in her compositions. She also used "more brilliant" colors and continued to use the Caravaggesque tenebrism even after her father moved on stylistically (Britannica Online, Artemisia Gentileschi). Many of Artemisia's compositions are also thought to be reworkings of her father's works, allowing Orazio's gifts to be reworked through her own unique theatrical style and vision. In her travels Artemisia also helped in spreading the Caravaggesque style from Rome. Ann Sutherland Harris states, "Artemisia played a significant role in bringing knowledge of Caravaggio's style to Florence in the 1610s, to Genoa in 1621, and to Naples after 1630, where her palette and elaborately painted drapery seem to have influenced Massimo Stanzione, Bernardo Cavallino and others" (Harris, Grove Art).

Most notably are the differences in identical compositions created by father and daughter. When comparing identical subjects it is far easier to see where Artemisia's and Orazio's styles diverge. For example, both created paintings of Judith and her Maidservant. Here the two painters both portray a famous biblical story of Judith, savior of the Jewish city of Bethulia. The city is besieged by an Assyrian army led by the Holofernes. Determined to save her people, Judith and her maidservant, Abra, sneak into the camp. Judith captivates Holofernes by her great beauty and days later she is invited to dinner with her maidservant. Holofernes soon becomes intoxicated after the meal and Judith takes advantage of this opportunity, beheading him with his own sword.

The paintings of Judith and her servant both seem to portray a moment after the killing when they hear something and are startled. However, Orazio and Artemisia's portrayals are grossly different. Orazio's version appears more placid and graceful--more poetically contrived. The softly textured, green background drapery reflects the peacefulness, as well as Orazio's famous talent for detailed textures. The women appear posed and too calm to accurately reflect the dangerous situation they are in, however. Artemisia's version betrays her flair for the dramatic, on the other hand. The harsh, almost glaring tones of yellow seem to express the panic and urgency of the situation. Likewise, the poses of the women as well as Judith's facial expression appear more strained and realistically appropriate to the situation. Judith looks out searching for the source of the sound while she holds the sword ready for action on her shoulder. Orazio's version, on the other hand, looks more like a classically composed sculpture than two real women in danger. Judith places her hand rather lightly on her servant's shoulder while looking out rather absentmindedly into the distance. Unlike Orazio, Artemisia's background is dark with little or no texture, focussing the attention on the figures specifically, removing them from the atmosphere and zooming in on their emotions and actions. The blaring light of this Caravaggesque tenebrism is highly effective.

An important element in Artemisia's career was her famous seduction or rape by Agostino Tassi, her teacher of perspective, in 1611. The traumatic crime and subsequent trial not only had an effect on her life, but on her art. Grove Art claims, "Artemisia's personal experience is frequently read into the painting, which is seen as a form of visual revenge for her humiliation" (Harris, Grove Art). Judith Mann agrees and states, "In light of Artemisia's own sexual history, writers have often associated the image with her personal experience. Psychoanalytic and feminist studies have explored various associations for such violence, including references to childbirth and castration" (Mann, 347). The first Naples painting on the left was done between 1611 and 1612, close to the time of her rape and trial. The great violence of the scene does seem to suggest a sort of visual revenge or retribution therapy for Artemisia. The portrayal of Judith, a virtuous woman, who overpowers and defeats a powerful man for her nation, is inspiring and symbolic of the sort of retribution a wronged woman would desire. The depiction of strong heroines, in fact, becomes emblematic of Artemisia's work. The Florence second version, though similar in composition, seems more violent. This is Artemisia's most famous piece. The violence and drama intensified by her rape and the time following is extraordinary. Here the blood gushes through the air in streams, rather than just seeping onto the bed linens. Holofernes's scarlet blanket also echoes the bright intense hue of blood, spreading the violence down the drapery to all parts of his body, rather than just focussing on the brutal cut at the throat. Death is thereby portrayed all more complete and finite. The display of Holofernes complete body makes the scene more violent as well in showing him as a complete human, not just a head and shoulder as in the Naples version. The increased amount of skin creates a humanizing effect on the Assirian leader. The more darkly colored pupils of Holoferne's eyes also humanizing him in being closer to reality and also allowing the viewer to look into them. The Naples version's eyes are more glazed over and thus inaccessible. The violence and drama is also heightened by the details of Judith and Abra. Judith's and her maidservant's furrowed brows and tighter facial expressions also portray the deeper brutality of the scenes, expressing their power and determination for destruction. Again in terms of color scheme, Artemisia's harsher yellow hue of light cast on the figures and Caravaggesque tenebrism increase the drama and, in this case, passionate violence of the scene.

As a woman artist Artemisia was highly unusual. Firstly, the training a woman artist was extremely rare, making any success a great accomplishment. However, through the instruction of her father, Artemisia not only became an artist, but a unique and gifted one in a time when men ruled the art world. Indeed, she was the first female artist in the Accademia del Disegno in 1616. She also set aside the social mores of the time and even painted many female nudes in her early career, which were thought to be improper subjects for female artists. Grove Art agrees in stating, "From the beginning she refused to limit herself to portraits, still-lifes and small devotional picture, the staples of most women artists in the 16^th and 17^th centuries, but established herself immediately as an ambitious history painter" (Harris, Grove Art). Most of Artemisia's life had been seen as simply an addition to her fathers. Ann Sutherland Harris points out her lack of popularity and patronage in her own time in stating, "The relative silence of contemporary biographers about her achievements and the lack of information about her later years suggest that male artists did not enjoy competing with her and that she had some difficulty making a living" (Harris, Grove Art). But in modern times she has developed an identity of her own far beyond that of her father's. Her work and memory has been re-remembered and glorified by the 20^th century feminist movement as a flagship of women artist and female talent and strength. Although she may not have received the popularity a man would in her own time, she has far surpassed many of her contemporaries rather justly in the modern era--even he own father, Orazio.

"Gentileschi, Artemisia." Encyclopædia Britannica 2003 Encyclopædia Britannica Online.
17 Mar, 2003 http://search.eb.com/eb/article?eu=37136.

"Gentileschi, Orazio." Encyclopædia Britannica 2003 Encyclopædia Britannica Online.
17 Mar, 2003 <http://search.eb.com/eb/article?eu=37138>.

Harris, Ann Sutherland. Gentileschi. http://www.groveart.com

All pictures taken from Web Gallery of Art, http://gallery.euroweb.hu/

Except Orazio's Judith and her Maidservant- http://www.follo.no/images/nnt.jpg,

David and Goliath (Orazio) - http://www.galleriaborghese.it/spada/img/david2.jpg,

David and Goliath (Caravaggio) - http://www.oir.ucf.edu/wm/paint/auth/caravaggio/david-goliath.jpg,