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Academic literature on the topic 'Gentileschi, Artemisia (1593-1652?) – Appréciation'
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Journal articles on the topic "Gentileschi, Artemisia (1593-1652?) – Appréciation"
Classe, Sylvie. "Artemisia Gentileschi 1593-1652." Hegel N° 2, no. 2 (2020): 168. http://dx.doi.org/10.4267/2042/70805.
Full textClasse, Sylvie. "Artemisia Gentileschi 1593-1652." Hegel N° 2, no. 2 (April 1, 2020): 168–73. http://dx.doi.org/10.3917/heg.102.0168.
Full textRamírez Alvarado, María del Mar. "Artemisia Gestileschi y la “sexualización” de su obra." Calle 14 revista de investigación en el campo del arte 15, no. 28 (July 2, 2020): 322–37. http://dx.doi.org/10.14483/21450706.16274.
Full textDissertations / Theses on the topic "Gentileschi, Artemisia (1593-1652?) – Appréciation"
Bassetti, Edoardo. "Artemisia, icône de notre temps : une mythologie." Electronic Thesis or Diss., Sorbonne université, 2024. https://accesdistant.sorbonne-universite.fr/login?url=https://theses-intra.sorbonne-universite.fr/2024SORUL049.pdf.
Full textThis thesis examines the contemporary reception and fictional works inspired by the painter Artemisia Gentileschi (1593-1654ca), who has become an icon in recent decades, capable of arousing cultural tensions and inducing reactions of a performative and identity-based nature. Aware that its current fortunes cannot be understood through a solely "archaeological" or "anachronistic" approach, but rather that it is necessary to alternate these critical movements as in DIDI-HUBERMAN's (2008) "imprint", the structure of the thesis is divided into two parts, one diachronic and the other synchronic. Starting from this premise, the proposed itinerary aims to show how Artemisia's "iconic power" cannot be dismissed as a mere feminist stunt or a product of the culture industry, but is determined by much deeper reasons, linked to the "culture wars" (MUIR 2007) which, born precisely in the seventeenth century, still characterize in some ways our times.The first part, entitled Artemisia, Artemisias: from documents to the imaginary and back, and divided into two chapters, first analyzes Artemisia and her time, or rather the "posture" (MEIZOZ 2007) and the process of "self-fashioning" (GREENBLATT 1980) that led the painter to assert herself with great authority on the artistic scene, coming into contact with the most influential political and cultural figures of the 17th century (Galileo, for example) ; then looks at Artemisia and our times, chronologically tracing the phases and turning points of her posthumous reception, proposing a first systematic periodization: above all, the "creation" of Artemisia as a modern literary character with ANNA BANTI's 1947 novel, thanks to which the painter became an "allegorical figure" (BAZZOCCHI 2021) who today inspires an incessant fictional production (the so-called "Artemisia fictions"); second-wave feminism in the 1970s and 1980s, which made the artist a standard-bearer for its political and social battles; and finally the new acceleration marked more recently by the #MeToo movement and the advent of social media, which have further increased Artemisia's "symbolic capital" (BOURDIEU) within our society.The second part (Artemisia and the moment of its "legibility". A critical "constellation": trauma, genre, transmedia) draws on the Benjaminian concepts of "dialectical image" and "legibility", to attempt in 3 chapters to identify the reasons why, just today, Artemisia and her work have become legible: 1) the dimension of trauma, intrinsic to the painter's own private biography, which the thesis attempts to highlight by analyzing particularly interesting Artemisia fictions, read in the light of Trauma Studies and DERIDDA's "hauntology"; 2) the dimension of genre, which, through the reflections of DE LAURETIS, BAL, POLLOCK, MULVEY etc. , the thesis intends to apply to certain of Artemisia's paintings (Susanna and the Elders, Judith and Holofernes, Corisca and the Satyr, Christ and the Samaritan Woman etc.), which formalize a new relationship between feminine and masculine; 3) finally, the transmedia dimension taken on by her character, as one of the most prolific mythopoetic matrices of the third millennium, capable of resignifying the ideological horizons and identity structures of our time
Ratelle-Montemiglio, Catherine. "Femmes et violences dans les œuvres d'Artemisia Gentileschi et d'Elisabetta Sirani." Mémoire, 2013. http://www.archipel.uqam.ca/5736/1/M13141.pdf.
Full textBooks on the topic "Gentileschi, Artemisia (1593-1652?) – Appréciation"
Gentileschi, Artemisia, 1593-1652 or 1653, ed. Artemisia Gentileschi: 1593-1652. Firenze - Italia: Giunti, 2021.
Find full textRoberto, Contini, Papi Gianni, Berti Luciano, Casa Buonarroti (Florence Italy), Italy. Ministero per i beni culturali e ambientali., Ente Casa Buonarroti (Florence, Italy), and Banca toscana, eds. Artemisia. Roma: Leonardo, 1991.
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