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brings together for the first time works by two remarkable painters of seventeenth-century Italy who happen also to have been father and daughter: Orazio and Artemisia Gentileschi. Famous in their own day, these two artists have enjoyed renewed fame in the twentieth century: Orazio as one of the first and certainly the most individual of Caravaggio's followers; Artemisia as the outstanding female painter prior to the twentieth century. The tumultuous lives of these two artists moved along parallel trajectories and take the reader from the popular quarters of papal Rome and the rough-and-tumble world of Naples to the courts of the grand duke of Tuscany, Marie de' Medici in Paris, and Charles I in London. These changing circumstances nourished two different aesthetic visions, both of which were deeply rooted in the Caravaggesque practice of painting directly from the posed model. While Orazio's art became ever more refined and elegant, Artemisia espoused a rhetorical form of dramatic presentation that is the basis of Baroque painting. Written to accompany the landmark exhibition held in Rome, New York, and Saint Louis, the book includes essays that describe the art and people the two painters encountered in the course of their peripatetic careers and address such issues as feminism and the critical interpretation of Artemisia's work. The essays, arranged chronologically to follow the artists as they moved from city to city, not only provide critical commentary but illuminate the historical context in which they worked. The appendices include previously unpublished documents relating to the trial of Orazio's colleague Agostino Tassi for his rape of Artemisia, which shed new light on her father's workshop practice, and a recently discovered inventory of Artemisia's household goods drawn up on the eve of her departure from Florence to Rome. The book is the work of Keith Christiansen and Judith W. Mann, with contributions by a team of outstanding scholars."/><link rel="manifest" href="/manifest.webmanifest" crossorigin="use-credentials"/><meta property="og:title" content="Orazio and Artemisia Gentileschi - The Metropolitan Museum of Art"/><meta property="og:description" content="This beautifully produced volume brings together for the first time works by two remarkable painters of seventeenth-century Italy who happen also to have been father and daughter: Orazio and Artemisia Gentileschi. Famous in their own day, these two artists have enjoyed renewed fame in the twentieth century: Orazio as one of the first and certainly the most individual of Caravaggio's followers; Artemisia as the outstanding female painter prior to the twentieth century. The tumultuous lives of these two artists moved along parallel trajectories and take the reader from the popular quarters of papal Rome and the rough-and-tumble world of Naples to the courts of the grand duke of Tuscany, Marie de' Medici in Paris, and Charles I in London. These changing circumstances nourished two different aesthetic visions, both of which were deeply rooted in the Caravaggesque practice of painting directly from the posed model. While Orazio's art became ever more refined and elegant, Artemisia espoused a rhetorical form of dramatic presentation that is the basis of Baroque painting. Written to accompany the landmark exhibition held in Rome, New York, and Saint Louis, the book includes essays that describe the art and people the two painters encountered in the course of their peripatetic careers and address such issues as feminism and the critical interpretation of Artemisia's work. The essays, arranged chronologically to follow the artists as they moved from city to city, not only provide critical commentary but illuminate the historical context in which they worked. The appendices include previously unpublished documents relating to the trial of Orazio's colleague Agostino Tassi for his rape of Artemisia, which shed new light on her father's workshop practice, and a recently discovered inventory of Artemisia's household goods drawn up on the eve of her departure from Florence to Rome. The book is the work of Keith Christiansen and Judith W. Mann, with contributions by a team of outstanding scholars."/><meta property="og:image" content="https://cdn.sanity.io/images/cctd4ker/production/45dd91361dda344d66dda8cc9ef715c75f156d8f-250x286.jpg?w=600&q=75&auto=format"/><meta name="twitter:card" content="summary_large_image"/><meta name="twitter:title" content="Orazio and Artemisia Gentileschi - The Metropolitan Museum of Art"/><meta name="twitter:description" content="This beautifully produced volume brings together for the first time works by two remarkable painters of seventeenth-century Italy who happen also to have been father and daughter: Orazio and Artemisia Gentileschi. Famous in their own day, these two artists have enjoyed renewed fame in the twentieth century: Orazio as one of the first and certainly the most individual of Caravaggio's followers; Artemisia as the outstanding female painter prior to the twentieth century. The tumultuous lives of these two artists moved along parallel trajectories and take the reader from the popular quarters of papal Rome and the rough-and-tumble world of Naples to the courts of the grand duke of Tuscany, Marie de' Medici in Paris, and Charles I in London. These changing circumstances nourished two different aesthetic visions, both of which were deeply rooted in the Caravaggesque practice of painting directly from the posed model. While Orazio's art became ever more refined and elegant, Artemisia espoused a rhetorical form of dramatic presentation that is the basis of Baroque painting. Written to accompany the landmark exhibition held in Rome, New York, and Saint Louis, the book includes essays that describe the art and people the two painters encountered in the course of their peripatetic careers and address such issues as feminism and the critical interpretation of Artemisia's work. The essays, arranged chronologically to follow the artists as they moved from city to city, not only provide critical commentary but illuminate the historical context in which they worked. The appendices include previously unpublished documents relating to the trial of Orazio's colleague Agostino Tassi for his rape of Artemisia, which shed new light on her father's workshop practice, and a recently discovered inventory of Artemisia's household goods drawn up on the eve of her departure from Florence to Rome. The book is the work of Keith Christiansen and Judith W. Mann, with contributions by a team of outstanding scholars."/><meta name="twitter:image" content="https://cdn.sanity.io/images/cctd4ker/production/45dd91361dda344d66dda8cc9ef715c75f156d8f-250x286.jpg?w=600&q=75&auto=format"/><link rel="icon" href="/icon?53898477bfbcb539" type="image/png" sizes="256x256"/><link rel="apple-touch-icon" href="/apple-icon?caf747e317587ad6" type="image/png"/><meta name="next-size-adjust"/><script src="/_next/static/chunks/polyfills-42372ed130431b0a.js" noModule=""></script></head><body><button class="skip-to-main-content_skipToMainContent__tnLhe button secondary" id="skip-to-main-content-button" data-sentry-component="SkipToMainContent" data-sentry-source-file="index.jsx">Skip to main content</button><section class="notification-banner_banner__vt826" data-sentry-component="NotificationBanner" data-sentry-source-file="index.jsx"><svg xmlns="http://www.w3.org/2000/svg" width="1em" height="1em" fill="none" viewBox="0 0 20 20" 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alt="Orazio and Artemisia Gentileschi" data-loading="true" data-sentry-element="Image" data-sentry-component="SanityImage" data-sentry-source-file="index.jsx" fetchPriority="high" width="250" height="286" decoding="async" data-nimg="1" class="sanity-image_img__cWxRo publication-details-box_image__RhW7c" style="color:transparent;max-width:100%;height:auto;--img-bg-color:#a17c51;--img-color:#fff" sizes="(max-width: 960px) 85vw, 30vw" srcSet="https://cdn.sanity.io/images/cctd4ker/production/45dd91361dda344d66dda8cc9ef715c75f156d8f-250x286.jpg?w=256&q=75&fit=clip&auto=format 256w, https://cdn.sanity.io/images/cctd4ker/production/45dd91361dda344d66dda8cc9ef715c75f156d8f-250x286.jpg?w=384&q=75&fit=clip&auto=format 384w, https://cdn.sanity.io/images/cctd4ker/production/45dd91361dda344d66dda8cc9ef715c75f156d8f-250x286.jpg?w=640&q=75&fit=clip&auto=format 640w, https://cdn.sanity.io/images/cctd4ker/production/45dd91361dda344d66dda8cc9ef715c75f156d8f-250x286.jpg?w=750&q=75&fit=clip&auto=format 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src="https://cdn.sanity.io/images/cctd4ker/production/45dd91361dda344d66dda8cc9ef715c75f156d8f-250x286.jpg?w=3840&q=75&fit=clip&auto=format"/></div></div><div class="publication-details-box_publicationText__CwWiF"><h1 style="margin:0"><span data-sentry-element="Markdown" data-sentry-component="MarkdownParser" data-sentry-source-file="index.jsx">Orazio and Artemisia Gentileschi</span></h1><div class="publication-details-box_authorText__WeZg9">Various authors</div><div class="publication-details-box_authorText__WeZg9">2001</div><div class="publication-details-box_additionalDetails__tJaHx"><div>496 pages</div><div>249 illustrations</div></div><div class="publication-details-box_awards__BSyv5"><div class="publication-details-box_award__O2_67"><svg xmlns="http://www.w3.org/2000/svg" width="1em" height="1em" fill="none" viewBox="0 0 25 24" class="publication-details-box_awardIcon__I91k9"><path fill="currentColor" stroke="currentColor" stroke-width="0.5" d="M5.5 8.999c0 1.902.765 3.627 2 4.89V21a.998.998 0 0 0 1.447.895l3.553-1.777 3.553 1.776a.992.992 0 0 0 .972-.043c.295-.183.475-.504.475-.851v-7.11a6.976 6.976 0 0 0 2-4.891C19.5 5.14 16.36 2 12.5 2s-7 3.14-7 6.999Zm7.447 9.106a1 1 0 0 0-.895 0L9.5 19.382v-4.067a6.955 6.955 0 0 0 3 .685c1.074 0 2.089-.25 3-.685v4.066zM12.5 4c2.756 0 5 2.242 5 4.999a5.006 5.006 0 0 1-5 5.001c-2.757 0-5-2.243-5-5.001A5.005 5.005 0 0 1 12.5 4Z"></path></svg><span data-sentry-element="Markdown" data-sentry-component="MarkdownParser" data-sentry-source-file="index.jsx">Book of the Year Award (ForeWord) in Art (2001)</span></div></div><div class="library-and-store-links_container__uZIAB" data-sentry-component="LibraryAndStoreLinks" data-sentry-source-file="index.jsx"><div class="library-and-store-links_printStatusMessage__wCYGV">This title is out of print.</div><div style="--grid-gap:var(--spacing-micro);--grid-columns:2" class="grid_gridByColumnCount__TeDpp grid_grid__Z8NYn " data-sentry-element="Element" 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href="http://books.google.com/books?id=K-nALLkKkw0C&printsec=frontcover">Read online</a></div></div></div></div></section><section class="page-section_wrapper__mFtQK" data-sentry-element="PageSection" data-sentry-source-file="index.jsx" data-sentry-component="PageSection"><div class="tab-drawer_wrapper__Go80z undefined" data-sentry-component="TabDrawers" data-sentry-source-file="index.tsx"><div class="tabs_wrapper__xVpUT undefined" data-sentry-component="Tabs" data-sentry-source-file="index.jsx"><fieldset class="tabs_fieldset__NRtDM"><legend data-sentry-element="Element" data-sentry-source-file="index.jsx" class="screen-reader-only_text__226tQ" data-sentry-component="ScreenReaderOnly">View More Publication Info</legend><div class="tabs_tab__shByP"><input type="radio" id="Description-tab-id" class="tabs_input__mwg3g" name="publications-tabs" checked="" value="Description"/><label for="Description-tab-id" class="tabs_label__YG6gQ tabs_small__4mOy2"><div class="tabs_tabText__tixoU">Description</div></label></div><div class="tabs_tab__shByP"><input type="radio" id="Table of contents-tab-id" class="tabs_input__mwg3g" name="publications-tabs" value="Table of contents"/><label for="Table of contents-tab-id" class="tabs_label__YG6gQ tabs_small__4mOy2"><div class="tabs_tabText__tixoU">Table of contents</div></label></div><div class="tabs_tab__shByP"><input type="radio" id="About the authors-tab-id" class="tabs_input__mwg3g" name="publications-tabs" value="About the authors"/><label for="About the authors-tab-id" class="tabs_label__YG6gQ tabs_small__4mOy2"><div class="tabs_tabText__tixoU">About the authors</div></label></div><div class="tabs_tab__shByP"><input type="radio" id="Praise-tab-id" class="tabs_input__mwg3g" name="publications-tabs" value="Praise"/><label for="Praise-tab-id" class="tabs_label__YG6gQ tabs_small__4mOy2"><div class="tabs_tabText__tixoU">Praise</div></label></div></fieldset></div><div class="tab-drawer_bodyWrapper__qg8iy tab-drawer_divider__uAZwv"><p>This beautifully produced volume brings together for the first time works by two remarkable painters of seventeenth-century Italy who happen also to have been father and daughter: Orazio and Artemisia Gentileschi. Famous in their own day, these two artists have enjoyed renewed fame in the twentieth century: Orazio as one of the first and certainly the most individual of Caravaggio's followers; Artemisia as the outstanding female painter prior to the twentieth century. The tumultuous lives of these two artists moved along parallel trajectories and take the reader from the popular quarters of papal Rome and the rough-and-tumble world of Naples to the courts of the grand duke of Tuscany, Marie de' Medici in Paris, and Charles I in London. These changing circumstances nourished two different aesthetic visions, both of which were deeply rooted in the Caravaggesque practice of painting directly from the posed model. While Orazio's art became ever more refined and elegant, Artemisia espoused a rhetorical form of dramatic presentation that is the basis of Baroque painting.</p><p>Written to accompany the landmark exhibition held in Rome, New York, and Saint Louis, the book includes essays that describe the art and people the two painters encountered in the course of their peripatetic careers and address such issues as feminism and the critical interpretation of Artemisia's work. The essays, arranged chronologically to follow the artists as they moved from city to city, not only provide critical commentary but illuminate the historical context in which they worked.</p><p>The appendices include previously unpublished documents relating to the trial of Orazio's colleague Agostino Tassi for his rape of Artemisia, which shed new light on her father's workshop practice, and a recently discovered inventory of Artemisia's household goods drawn up on the eve of her departure from Florence to Rome. The book is the work of Keith Christiansen and Judith W. Mann, with contributions by a team of outstanding scholars.</p></div></div></section><section id="met-art-in-publication" class="page-section_clampedWidthWrapper__kBLdL" data-sentry-component="PageSection" data-sentry-source-file="index.jsx"><div class="component-header_wrapper__kS6_W" data-sentry-component="ComponentHeader" data-sentry-source-file="index.jsx"><div class="component-header_titleAndLinkWrapper__mDA0q"><div><h2><span data-sentry-element="Markdown" data-sentry-component="MarkdownParser" data-sentry-source-file="index.jsx">Met Art in Publication</span></h2></div></div><p class="component-header_description__yxN6Q"></p></div><section class="object-grid_grid__hKKqs"><figure class="collection-object_collectionObject__SuPct" data-sentry-component="CollectionObject" data-sentry-source-file="index.tsx"><div class="collection-object_imageWrapper__dUMo_"><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" rel="noreferrer" data-sentry-element="GTMLink" data-sentry-source-file="index.jsx" data-sentry-component="RedundantLink" href="/en/art/collection/search/436453"></a><img loading="lazy" class="collection-object_image__XVQPm collection-object_gridView__8kZLF" src="https://collectionapi.metmuseum.org/api/collection/v1/iiif/436453/2016369/main-image" alt="Esther before Ahasuerus, Artemisia Gentileschi Italian, Oil on canvas"/></div><figcaption class="collection-object_caption__Wbhum" data-sentry-element="figcaption" data-sentry-source-file="index.tsx"><div class="collection-object_title__1MnJJ"><a class="collection-object_link__qM3YR" title="Esther before Ahasuerus" rel="noreferrer" data-sentry-element="Link" data-sentry-source-file="index.tsx" href="/en/art/collection/search/436453">Esther before Ahasuerus</a></div><div class="collection-object_body__cW9co"><div class="collection-object_culture__BaSXn"><div>Artemisia Gentileschi</div></div><div>1620s</div></div></figcaption></figure></section></section><section 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https://cdn.sanity.io/images/cctd4ker/production/dbdd28568afa3860c74b76f8d414e11761e4fe9a-250x286.jpg?w=828&q=75&fit=clip&auto=format 828w, https://cdn.sanity.io/images/cctd4ker/production/dbdd28568afa3860c74b76f8d414e11761e4fe9a-250x286.jpg?w=1080&q=75&fit=clip&auto=format 1080w, https://cdn.sanity.io/images/cctd4ker/production/dbdd28568afa3860c74b76f8d414e11761e4fe9a-250x286.jpg?w=1200&q=75&fit=clip&auto=format 1200w, https://cdn.sanity.io/images/cctd4ker/production/dbdd28568afa3860c74b76f8d414e11761e4fe9a-250x286.jpg?w=1920&q=75&fit=clip&auto=format 1920w, https://cdn.sanity.io/images/cctd4ker/production/dbdd28568afa3860c74b76f8d414e11761e4fe9a-250x286.jpg?w=2048&q=75&fit=clip&auto=format 2048w, https://cdn.sanity.io/images/cctd4ker/production/dbdd28568afa3860c74b76f8d414e11761e4fe9a-250x286.jpg?w=3840&q=75&fit=clip&auto=format 3840w" src="https://cdn.sanity.io/images/cctd4ker/production/dbdd28568afa3860c74b76f8d414e11761e4fe9a-250x286.jpg?w=3840&q=75&fit=clip&auto=format"/><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" data-sentry-element="GTMLink" data-sentry-source-file="index.jsx" data-sentry-component="RedundantLink" href="/en/met-publications/from-filippo-lippi-to-piero-della-francesca-fra-carnevale-and-the-making-of-a-renaissance-master"></a></div><div class="publication-card_body__gdoKj"><h4 class="publication-card_heading__fie9z"><a data-sentry-element="Link" data-sentry-source-file="index.tsx" href="/met-publications/from-filippo-lippi-to-piero-della-francesca-fra-carnevale-and-the-making-of-a-renaissance-master"><span data-sentry-element="Markdown" data-sentry-component="MarkdownParser" data-sentry-source-file="index.jsx">From Filippo Lippi to Piero della Francesca: Fra Carnevale and the Making of a Renaissance Master</span></a></h4><div class="publication-card_date__0K8zx">2005</div></div><div class="publication-card_badgeWrapper__y1I4t"><div class="badge_badge__Uonuj" style="color:var(--color-grey-900)" data-sentry-component="Badge" data-sentry-source-file="index.tsx">Free to download</div></div></div><div class="publication-card_card__I2Znr" data-sentry-component="PublicationCard" data-sentry-source-file="index.tsx"><div class="publication-card_imageWrapper__35Jn2"><img alt="From Van Eyck to Bruegel: Early Netherlandish Painting in The Metropolitan Museum of Art" data-loading="true" data-sentry-element="Image" data-sentry-component="SanityImage" data-sentry-source-file="index.jsx" loading="lazy" width="250" height="304" decoding="async" data-nimg="1" class="sanity-image_img__cWxRo publication-card_image__xMOzw" style="color:transparent;max-width:100%;height:auto" sizes="250px" srcSet="https://cdn.sanity.io/images/cctd4ker/production/5127fefa738e54160603f432682d61f0a4f03842-250x304.jpg?w=16&q=75&fit=clip&auto=format 16w, https://cdn.sanity.io/images/cctd4ker/production/5127fefa738e54160603f432682d61f0a4f03842-250x304.jpg?w=32&q=75&fit=clip&auto=format 32w, https://cdn.sanity.io/images/cctd4ker/production/5127fefa738e54160603f432682d61f0a4f03842-250x304.jpg?w=48&q=75&fit=clip&auto=format 48w, https://cdn.sanity.io/images/cctd4ker/production/5127fefa738e54160603f432682d61f0a4f03842-250x304.jpg?w=64&q=75&fit=clip&auto=format 64w, https://cdn.sanity.io/images/cctd4ker/production/5127fefa738e54160603f432682d61f0a4f03842-250x304.jpg?w=96&q=75&fit=clip&auto=format 96w, https://cdn.sanity.io/images/cctd4ker/production/5127fefa738e54160603f432682d61f0a4f03842-250x304.jpg?w=128&q=75&fit=clip&auto=format 128w, https://cdn.sanity.io/images/cctd4ker/production/5127fefa738e54160603f432682d61f0a4f03842-250x304.jpg?w=256&q=75&fit=clip&auto=format 256w, https://cdn.sanity.io/images/cctd4ker/production/5127fefa738e54160603f432682d61f0a4f03842-250x304.jpg?w=384&q=75&fit=clip&auto=format 384w, https://cdn.sanity.io/images/cctd4ker/production/5127fefa738e54160603f432682d61f0a4f03842-250x304.jpg?w=640&q=75&fit=clip&auto=format 640w, https://cdn.sanity.io/images/cctd4ker/production/5127fefa738e54160603f432682d61f0a4f03842-250x304.jpg?w=750&q=75&fit=clip&auto=format 750w, https://cdn.sanity.io/images/cctd4ker/production/5127fefa738e54160603f432682d61f0a4f03842-250x304.jpg?w=828&q=75&fit=clip&auto=format 828w, https://cdn.sanity.io/images/cctd4ker/production/5127fefa738e54160603f432682d61f0a4f03842-250x304.jpg?w=1080&q=75&fit=clip&auto=format 1080w, https://cdn.sanity.io/images/cctd4ker/production/5127fefa738e54160603f432682d61f0a4f03842-250x304.jpg?w=1200&q=75&fit=clip&auto=format 1200w, https://cdn.sanity.io/images/cctd4ker/production/5127fefa738e54160603f432682d61f0a4f03842-250x304.jpg?w=1920&q=75&fit=clip&auto=format 1920w, https://cdn.sanity.io/images/cctd4ker/production/5127fefa738e54160603f432682d61f0a4f03842-250x304.jpg?w=2048&q=75&fit=clip&auto=format 2048w, https://cdn.sanity.io/images/cctd4ker/production/5127fefa738e54160603f432682d61f0a4f03842-250x304.jpg?w=3840&q=75&fit=clip&auto=format 3840w" src="https://cdn.sanity.io/images/cctd4ker/production/5127fefa738e54160603f432682d61f0a4f03842-250x304.jpg?w=3840&q=75&fit=clip&auto=format"/><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" data-sentry-element="GTMLink" data-sentry-source-file="index.jsx" data-sentry-component="RedundantLink" href="/en/met-publications/from-van-eyck-to-bruegel-early-netherlandish-painting-in-the-metropolitan-museum-of-art"></a></div><div class="publication-card_body__gdoKj"><h4 class="publication-card_heading__fie9z"><a data-sentry-element="Link" data-sentry-source-file="index.tsx" href="/met-publications/from-van-eyck-to-bruegel-early-netherlandish-painting-in-the-metropolitan-museum-of-art"><span data-sentry-element="Markdown" data-sentry-component="MarkdownParser" data-sentry-source-file="index.jsx">From Van Eyck to Bruegel: Early Netherlandish Painting in The Metropolitan Museum of Art</span></a></h4><div class="publication-card_date__0K8zx">1998</div></div><div class="publication-card_badgeWrapper__y1I4t"><div class="badge_badge__Uonuj" style="color:var(--color-grey-900)" data-sentry-component="Badge" data-sentry-source-file="index.tsx">Free to download</div></div></div><div class="publication-card_card__I2Znr" data-sentry-component="PublicationCard" data-sentry-source-file="index.tsx"><div class="publication-card_imageWrapper__35Jn2"><img alt="Painting in Renaissance Siena, 1420-1500" data-loading="true" data-sentry-element="Image" data-sentry-component="SanityImage" data-sentry-source-file="index.jsx" loading="lazy" width="250" height="263" decoding="async" data-nimg="1" class="sanity-image_img__cWxRo publication-card_image__xMOzw" style="color:transparent;max-width:100%;height:auto" sizes="250px" srcSet="https://cdn.sanity.io/images/cctd4ker/production/350e0b7f0c5e6c1c9b8d6b99f79ac741e28ff9f6-250x263.jpg?w=16&q=75&fit=clip&auto=format 16w, https://cdn.sanity.io/images/cctd4ker/production/350e0b7f0c5e6c1c9b8d6b99f79ac741e28ff9f6-250x263.jpg?w=32&q=75&fit=clip&auto=format 32w, https://cdn.sanity.io/images/cctd4ker/production/350e0b7f0c5e6c1c9b8d6b99f79ac741e28ff9f6-250x263.jpg?w=48&q=75&fit=clip&auto=format 48w, https://cdn.sanity.io/images/cctd4ker/production/350e0b7f0c5e6c1c9b8d6b99f79ac741e28ff9f6-250x263.jpg?w=64&q=75&fit=clip&auto=format 64w, https://cdn.sanity.io/images/cctd4ker/production/350e0b7f0c5e6c1c9b8d6b99f79ac741e28ff9f6-250x263.jpg?w=96&q=75&fit=clip&auto=format 96w, https://cdn.sanity.io/images/cctd4ker/production/350e0b7f0c5e6c1c9b8d6b99f79ac741e28ff9f6-250x263.jpg?w=128&q=75&fit=clip&auto=format 128w, https://cdn.sanity.io/images/cctd4ker/production/350e0b7f0c5e6c1c9b8d6b99f79ac741e28ff9f6-250x263.jpg?w=256&q=75&fit=clip&auto=format 256w, https://cdn.sanity.io/images/cctd4ker/production/350e0b7f0c5e6c1c9b8d6b99f79ac741e28ff9f6-250x263.jpg?w=384&q=75&fit=clip&auto=format 384w, https://cdn.sanity.io/images/cctd4ker/production/350e0b7f0c5e6c1c9b8d6b99f79ac741e28ff9f6-250x263.jpg?w=640&q=75&fit=clip&auto=format 640w, https://cdn.sanity.io/images/cctd4ker/production/350e0b7f0c5e6c1c9b8d6b99f79ac741e28ff9f6-250x263.jpg?w=750&q=75&fit=clip&auto=format 750w, https://cdn.sanity.io/images/cctd4ker/production/350e0b7f0c5e6c1c9b8d6b99f79ac741e28ff9f6-250x263.jpg?w=828&q=75&fit=clip&auto=format 828w, https://cdn.sanity.io/images/cctd4ker/production/350e0b7f0c5e6c1c9b8d6b99f79ac741e28ff9f6-250x263.jpg?w=1080&q=75&fit=clip&auto=format 1080w, https://cdn.sanity.io/images/cctd4ker/production/350e0b7f0c5e6c1c9b8d6b99f79ac741e28ff9f6-250x263.jpg?w=1200&q=75&fit=clip&auto=format 1200w, https://cdn.sanity.io/images/cctd4ker/production/350e0b7f0c5e6c1c9b8d6b99f79ac741e28ff9f6-250x263.jpg?w=1920&q=75&fit=clip&auto=format 1920w, https://cdn.sanity.io/images/cctd4ker/production/350e0b7f0c5e6c1c9b8d6b99f79ac741e28ff9f6-250x263.jpg?w=2048&q=75&fit=clip&auto=format 2048w, https://cdn.sanity.io/images/cctd4ker/production/350e0b7f0c5e6c1c9b8d6b99f79ac741e28ff9f6-250x263.jpg?w=3840&q=75&fit=clip&auto=format 3840w" src="https://cdn.sanity.io/images/cctd4ker/production/350e0b7f0c5e6c1c9b8d6b99f79ac741e28ff9f6-250x263.jpg?w=3840&q=75&fit=clip&auto=format"/><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" data-sentry-element="GTMLink" data-sentry-source-file="index.jsx" data-sentry-component="RedundantLink" href="/en/met-publications/painting-in-renaissance-siena-1420-1500"></a></div><div class="publication-card_body__gdoKj"><h4 class="publication-card_heading__fie9z"><a data-sentry-element="Link" data-sentry-source-file="index.tsx" href="/met-publications/painting-in-renaissance-siena-1420-1500"><span data-sentry-element="Markdown" data-sentry-component="MarkdownParser" data-sentry-source-file="index.jsx">Painting in Renaissance Siena, 1420–1500</span></a></h4><div class="publication-card_date__0K8zx">1988</div></div><div class="publication-card_badgeWrapper__y1I4t"><div class="badge_badge__Uonuj" style="color:var(--color-grey-900)" data-sentry-component="Badge" data-sentry-source-file="index.tsx">Free to download</div></div></div><div class="publication-card_card__I2Znr" data-sentry-component="PublicationCard" data-sentry-source-file="index.tsx"><div class="publication-card_imageWrapper__35Jn2"><img alt="The cover of the catalogue The Medici: Portraits and Politics 1512–1570. A young man wearing a black taffeta jacket looks at the viewer." data-loading="true" data-sentry-element="Image" data-sentry-component="SanityImage" data-sentry-source-file="index.jsx" loading="lazy" width="250" height="306" decoding="async" data-nimg="1" class="sanity-image_img__cWxRo publication-card_image__xMOzw" style="color:transparent;max-width:100%;height:auto" sizes="250px" srcSet="https://cdn.sanity.io/images/cctd4ker/production/cc02b0f1109979627402f015ed748804d2c05afa-250x306.jpg?w=16&q=75&fit=clip&auto=format 16w, https://cdn.sanity.io/images/cctd4ker/production/cc02b0f1109979627402f015ed748804d2c05afa-250x306.jpg?w=32&q=75&fit=clip&auto=format 32w, https://cdn.sanity.io/images/cctd4ker/production/cc02b0f1109979627402f015ed748804d2c05afa-250x306.jpg?w=48&q=75&fit=clip&auto=format 48w, https://cdn.sanity.io/images/cctd4ker/production/cc02b0f1109979627402f015ed748804d2c05afa-250x306.jpg?w=64&q=75&fit=clip&auto=format 64w, https://cdn.sanity.io/images/cctd4ker/production/cc02b0f1109979627402f015ed748804d2c05afa-250x306.jpg?w=96&q=75&fit=clip&auto=format 96w, https://cdn.sanity.io/images/cctd4ker/production/cc02b0f1109979627402f015ed748804d2c05afa-250x306.jpg?w=128&q=75&fit=clip&auto=format 128w, https://cdn.sanity.io/images/cctd4ker/production/cc02b0f1109979627402f015ed748804d2c05afa-250x306.jpg?w=256&q=75&fit=clip&auto=format 256w, https://cdn.sanity.io/images/cctd4ker/production/cc02b0f1109979627402f015ed748804d2c05afa-250x306.jpg?w=384&q=75&fit=clip&auto=format 384w, https://cdn.sanity.io/images/cctd4ker/production/cc02b0f1109979627402f015ed748804d2c05afa-250x306.jpg?w=640&q=75&fit=clip&auto=format 640w, https://cdn.sanity.io/images/cctd4ker/production/cc02b0f1109979627402f015ed748804d2c05afa-250x306.jpg?w=750&q=75&fit=clip&auto=format 750w, https://cdn.sanity.io/images/cctd4ker/production/cc02b0f1109979627402f015ed748804d2c05afa-250x306.jpg?w=828&q=75&fit=clip&auto=format 828w, https://cdn.sanity.io/images/cctd4ker/production/cc02b0f1109979627402f015ed748804d2c05afa-250x306.jpg?w=1080&q=75&fit=clip&auto=format 1080w, https://cdn.sanity.io/images/cctd4ker/production/cc02b0f1109979627402f015ed748804d2c05afa-250x306.jpg?w=1200&q=75&fit=clip&auto=format 1200w, https://cdn.sanity.io/images/cctd4ker/production/cc02b0f1109979627402f015ed748804d2c05afa-250x306.jpg?w=1920&q=75&fit=clip&auto=format 1920w, https://cdn.sanity.io/images/cctd4ker/production/cc02b0f1109979627402f015ed748804d2c05afa-250x306.jpg?w=2048&q=75&fit=clip&auto=format 2048w, https://cdn.sanity.io/images/cctd4ker/production/cc02b0f1109979627402f015ed748804d2c05afa-250x306.jpg?w=3840&q=75&fit=clip&auto=format 3840w" src="https://cdn.sanity.io/images/cctd4ker/production/cc02b0f1109979627402f015ed748804d2c05afa-250x306.jpg?w=3840&q=75&fit=clip&auto=format"/><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" data-sentry-element="GTMLink" data-sentry-source-file="index.jsx" data-sentry-component="RedundantLink" href="/en/met-publications/the-medici-portraits-and-politics"></a></div><div class="publication-card_body__gdoKj"><h4 class="publication-card_heading__fie9z"><a data-sentry-element="Link" data-sentry-source-file="index.tsx" href="/met-publications/the-medici-portraits-and-politics"><span data-sentry-element="Markdown" data-sentry-component="MarkdownParser" data-sentry-source-file="index.jsx">The Medici: Portraits and Politics, 1512–1570</span></a></h4><div class="publication-card_date__0K8zx">2021</div></div></div><div class="publication-card_card__I2Znr" data-sentry-component="PublicationCard" data-sentry-source-file="index.tsx"><div class="publication-card_imageWrapper__35Jn2"><img alt="Antonello da Messina: Sicily's Renaissance Master" data-loading="true" data-sentry-element="Image" data-sentry-component="SanityImage" data-sentry-source-file="index.jsx" loading="lazy" width="250" height="299" decoding="async" data-nimg="1" class="sanity-image_img__cWxRo publication-card_image__xMOzw" style="color:transparent;max-width:100%;height:auto" sizes="250px" srcSet="https://cdn.sanity.io/images/cctd4ker/production/e9eb200e12da5ea4bdfa236edad0741f4602d7ab-250x299.jpg?w=16&q=75&fit=clip&auto=format 16w, https://cdn.sanity.io/images/cctd4ker/production/e9eb200e12da5ea4bdfa236edad0741f4602d7ab-250x299.jpg?w=32&q=75&fit=clip&auto=format 32w, https://cdn.sanity.io/images/cctd4ker/production/e9eb200e12da5ea4bdfa236edad0741f4602d7ab-250x299.jpg?w=48&q=75&fit=clip&auto=format 48w, https://cdn.sanity.io/images/cctd4ker/production/e9eb200e12da5ea4bdfa236edad0741f4602d7ab-250x299.jpg?w=64&q=75&fit=clip&auto=format 64w, https://cdn.sanity.io/images/cctd4ker/production/e9eb200e12da5ea4bdfa236edad0741f4602d7ab-250x299.jpg?w=96&q=75&fit=clip&auto=format 96w, https://cdn.sanity.io/images/cctd4ker/production/e9eb200e12da5ea4bdfa236edad0741f4602d7ab-250x299.jpg?w=128&q=75&fit=clip&auto=format 128w, 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href="/met-publications/antonello-da-messina-sicilys-renaissance-master"><span data-sentry-element="Markdown" data-sentry-component="MarkdownParser" data-sentry-source-file="index.jsx">Antonello da Messina: Sicily's Renaissance Master</span></a></h4><div class="publication-card_date__0K8zx">2005</div></div><div class="publication-card_badgeWrapper__y1I4t"><div class="badge_badge__Uonuj" style="color:var(--color-grey-900)" data-sentry-component="Badge" data-sentry-source-file="index.tsx">Free to download</div></div></div></div></div></section><section id="related-content" class="page-section_clampedWidthWrapper__kBLdL" data-sentry-component="PageSection" data-sentry-source-file="index.jsx"><div class="component-header_wrapper__kS6_W" data-sentry-component="ComponentHeader" data-sentry-source-file="index.jsx"><div class="component-header_titleAndLinkWrapper__mDA0q"><div><h2><span data-sentry-element="Markdown" data-sentry-component="MarkdownParser" 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class="component-header_description__yxN6Q"></p></div><div class="tab-drawer_wrapper__Go80z undefined" data-sentry-component="TabDrawers" data-sentry-source-file="index.tsx"><div class="tabs_wrapper__xVpUT undefined" data-sentry-component="Tabs" data-sentry-source-file="index.jsx"><fieldset class="tabs_fieldset__NRtDM"><legend data-sentry-element="Element" data-sentry-source-file="index.jsx" class="screen-reader-only_text__226tQ" data-sentry-component="ScreenReaderOnly">View Citations</legend><div class="tabs_tab__shByP"><input type="radio" id="Chicago-tab-id" class="tabs_input__mwg3g" name="citation-tabs" checked="" value="Chicago"/><label for="Chicago-tab-id" class="tabs_label__YG6gQ tabs_small__4mOy2"><div class="tabs_tabText__tixoU">Chicago</div></label></div><div class="tabs_tab__shByP"><input type="radio" id="MLA-tab-id" class="tabs_input__mwg3g" name="citation-tabs" value="MLA"/><label for="MLA-tab-id" class="tabs_label__YG6gQ tabs_small__4mOy2"><div class="tabs_tabText__tixoU">MLA</div></label></div><div class="tabs_tab__shByP"><input type="radio" id="APA-tab-id" class="tabs_input__mwg3g" name="citation-tabs" value="APA"/><label for="APA-tab-id" class="tabs_label__YG6gQ tabs_small__4mOy2"><div class="tabs_tabText__tixoU">APA</div></label></div></fieldset></div><div class="tab-drawer_bodyWrapper__qg8iy tab-drawer_divider__uAZwv"><div><p>Christiansen, Keith, Judith Walker Mann, Orazio Gentileschi, and Artemisia Gentileschi. 2001. <em>Orazio and Artemisia Gentileschi</em>. New York New Haven: Metropolitan Museum of Art.</p><div class="copy-to-clipboard_copyToClipboard__Wnd48" data-sentry-component="CopyToClipboard" data-sentry-source-file="index.jsx"><button class=" tertiary" data-sentry-component="Button" data-sentry-source-file="index.jsx">Copy to clipboard <svg xmlns="http://www.w3.org/2000/svg" width="1em" height="1em" fill="none" viewBox="0 0 48 48" class="copy-to-clipboard_copyIcon__z1UXM"><g fill="#333"><path d="M40 6a2 2 0 0 1 2 2v26.007a2 2 0 0 1-2 2h-2V32.74a2 2 0 0 0 1-1.733V11a2 2 0 0 0-2-2H16.999a2 2 0 0 0-1.732 1h-3.268V8a2 2 0 0 1 2-2z"></path><path fill-rule="evenodd" d="M36 14a2 2 0 0 0-2-2H8a2 2 0 0 0-2 2v26a2 2 0 0 0 2 2h26a2 2 0 0 0 2-2zm-3 3a2 2 0 0 0-2-2H11a2 2 0 0 0-2 2v20a2 2 0 0 0 2 2h20a2 2 0 0 0 2-2z" clip-rule="evenodd"></path></g></svg></button></div></div></div></div></section></main><footer class="global-footer_footer__nWMhc"><section class="global-footer_locations__l92yQ"><div class="global-footer_logoWrapper__idTAi"><a 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The essays, arranged chronologically to follow the artists as they moved from city to city, not only provide critical commentary but illuminate the historical context in which they worked.\",\"_key\":\"4a796d6ff5b60\"}],\"_type\":\"block\"},{\"_type\":\"block\",\"style\":\"normal\",\"_key\":\"ffc4f71e0f0e\",\"markDefs\":[],\"children\":[{\"_key\":\"ffc4f71e0f0e0\",\"_type\":\"span\",\"marks\":[],\"text\":\"The appendices include previously unpublished documents relating to the trial of Orazio's colleague Agostino Tassi for his rape of Artemisia, which shed new light on her father's workshop practice, and a recently discovered inventory of Artemisia's household goods drawn up on the eve of her departure from Florence to Rome. The book is the work of Keith Christiansen and Judith W. 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The essays, arranged chronologically to follow the artists as they moved from city to city, not only provide critical commentary but illuminate the historical context in which they worked.\"]}],[\"$\",\"p\",null,{\"children\":[\"The appendices include previously unpublished documents relating to the trial of Orazio's colleague Agostino Tassi for his rape of Artemisia, which shed new light on her father's workshop practice, and a recently discovered inventory of Artemisia's household goods drawn up on the eve of her departure from Florence to Rome. The book is the work of Keith Christiansen and Judith W. 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The tumultuous lives of these two artists moved along parallel trajectories and take the reader from the popular quarters of papal Rome and the rough-and-tumble world of Naples to the courts of the grand duke of Tuscany, Marie de' Medici in Paris, and Charles I in London. These changing circumstances nourished two different aesthetic visions, both of which were deeply rooted in the Caravaggesque practice of painting directly from the posed model. While Orazio's art became ever more refined and elegant, Artemisia espoused a rhetorical form of dramatic presentation that is the basis of Baroque painting.\n\nWritten to accompany the landmark exhibition held in Rome, New York, and Saint Louis, the book includes essays that describe the art and people the two painters encountered in the course of their peripatetic careers and address such issues as feminism and the critical interpretation of Artemisia's work. The essays, arranged chronologically to follow the artists as they moved from city to city, not only provide critical commentary but illuminate the historical context in which they worked.\n\nThe appendices include previously unpublished documents relating to the trial of Orazio's colleague Agostino Tassi for his rape of Artemisia, which shed new light on her father's workshop practice, and a recently discovered inventory of Artemisia's household goods drawn up on the eve of her departure from Florence to Rome. The book is the work of Keith Christiansen and Judith W. Mann, with contributions by a team of outstanding scholars.44:T7e3,This beautifu"])</script><script>self.__next_f.push([1,"lly produced volume brings together for the first time works by two remarkable painters of seventeenth-century Italy who happen also to have been father and daughter: Orazio and Artemisia Gentileschi. Famous in their own day, these two artists have enjoyed renewed fame in the twentieth century: Orazio as one of the first and certainly the most individual of Caravaggio's followers; Artemisia as the outstanding female painter prior to the twentieth century. The tumultuous lives of these two artists moved along parallel trajectories and take the reader from the popular quarters of papal Rome and the rough-and-tumble world of Naples to the courts of the grand duke of Tuscany, Marie de' Medici in Paris, and Charles I in London. These changing circumstances nourished two different aesthetic visions, both of which were deeply rooted in the Caravaggesque practice of painting directly from the posed model. While Orazio's art became ever more refined and elegant, Artemisia espoused a rhetorical form of dramatic presentation that is the basis of Baroque painting.\n\nWritten to accompany the landmark exhibition held in Rome, New York, and Saint Louis, the book includes essays that describe the art and people the two painters encountered in the course of their peripatetic careers and address such issues as feminism and the critical interpretation of Artemisia's work. The essays, arranged chronologically to follow the artists as they moved from city to city, not only provide critical commentary but illuminate the historical context in which they worked.\n\nThe appendices include previously unpublished documents relating to the trial of Orazio's colleague Agostino Tassi for his rape of Artemisia, which shed new light on her father's workshop practice, and a recently discovered inventory of Artemisia's household goods drawn up on the eve of her departure from Florence to Rome. 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These changing circumstances nourished two different aesthetic visions, both of which were deeply rooted in the Caravaggesque practice of painting directly from the posed model. While Orazio's art became ever more refined and elegant, Artemisia espoused a rhetorical form of dramatic presentation that is the basis of Baroque painting.\n\nWritten to accompany the landmark exhibition held in Rome, New York, and Saint Louis, the book includes essays that describe the art and people the two painters encountered in the course of their peripatetic careers and address such issues as feminism and the critical interpretation of Artemisia's work. 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