Italian Baroque Era Painter, 1593-1652 Tuscan painter, daughter and pupil of Orazio Gentileschi, b. Rome. She studied under Agostino Tassi, her father's collaborator, who was convicted of raping the teen-age Artemisia in 1612. Over the years, she has been portrayed as a strumpet, a feminist victim or heroine, and an independent woman of her era and her life has been fictionalized in several novels and plays. In purely artistic terms, she achieved renown for her spirited execution and admirable use of chiaroscuro in the style of Caravaggio, and during her life she achieved both success and fame. In 1616 she became the first woman admitted to the Academy of Design in Florence. About 1638 she visited England, where she was in great demand as a portraitist. Among her works are Judith and Holofernes (Uffizi);   Related Paintings of GENTILESCHI, Artemisia :. | Judith Beheading Holofernes dfg | Judith and her Maidservant sdg | Portrait of a Condottiero dg | Judith Beheading Holofernes (detail) sdg | Mary Magdalen df |
Related Artists:
William fraser garden
1856-1921
James Seymour
British Painter , ca.1702-1752 English painter and draughtsman. The son of James Seymour (d 1739), a dealer in pictures and precious metals, Seymour was among the first English painters to specialize exclusively in sporting subject-matter. Though he possibly received some informal drawing instruction from the topographer Francis Place, Seymour was essentially a self-taught artist whose education was based on the study of pictures that passed through his father's hands; one of his earliest known works is a sketch of a horse's head after van Dyck (sold London, Christie's, 16 June 1970). His early 'genius to drawing of horses' was, according to George Vertue, compromised by 'modish extravagances' through living 'gay high and loosely' and because he 'never studied enough to paint or colour well'. Elsewhere, however, it was recorded that by 1739 he was 'reckoned the finest draughtsman in his way [of horses, hounds etc.] in the whole world' (Universal Spectator, 1739), and he was certainly preferred to his chief rival, John Wootton, by many sporting patrons. Among his employers was William Jolliffe MP, of Ammerdown. Though many of his paintings are either derivative of Wootton or simply inept, or both, others are characterized by a self-conscious stylistic naivety in which meticulous attention to detail and eerily static compositions combine to create curiously memorable images of some apparent sophistication.
Gustav Eberlein
1847Spickerschausen-1926 Berlin,German sculptor. He attended the Realschule in Hannoversch Menden until 1861. He was apprenticed to a goldsmith in 1861-4 and thus learnt embossing, carving, chasing and engraving. He subsequently travelled as a journeyman, finding employment in Hildesheim, then in Kassel with the court jeweller, Ruhl. From 1867 to 1870, Eberlein trained as a sculptor under August von Kreling (1819-76), director of the Kunstgewerbeschule in Nuremberg, also working as Kreling's assistant to support his studies. On receiving a grant from Elisabeth of Prussia (the widow of Frederick William IV) for three further years of study,