NAPLES - The life and art journey of Artemisia Gentileschi in the works exhibited in the halls of the Diocesan Museum of Naples on the occasion of the exhibition 'Artemisia Gentileschi between Rome, Florence and Naples'.
The exhibition, created with the support of the Campania Region, will be open to the public from tomorrow 29 April until 3 July.
Today the preview visit of the Minister of Culture, Gennaro Sangiuliano, welcomed by the vicar for culture of the Curia of Naples, Father Adolfo Russo.
The exhibition, curated by Pierluigi Leone de Castris, aims to try to link the Neapolitan activity to the Florentine and Roman training and stages of the painter's career.
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exhibition that gives the visitor well-known works and some almost unknown works and is made possible thanks to important loans from the Uffizi Gallery and Palazzo Pitti in Florence, from the Capodimonte Museum in Naples and from other museums and foundations and from some private collectors.
The exhibition pays homage to this artist who played a role in shaping the language of Southern artists of the 'golden age'.
The distinctive trait of the exhibition is its focus on the artist's life, training and career and also on his relationship with the work of his father Orazio or with Caravaggio's lesson.
Among the works exhibited in the halls of the Diocesan Museum of Naples are his many interpretations of the subject of Judith,
starting with the early one in the Capodimonte Museum up to that of the Palatine Gallery and the Uffizi Gallery in Florence, which perhaps represent the most effective, original and violent translation of the subject chosen at least twice by Caravaggio.
It is certain that both in Rome, both in Florence and in Naples, the places where Artemisia Gentileschi found herself working the longest, her strong, naturalistic, but at the same time precious and refined painting, met with great success both with collectors and with major painters of the time who found themselves talking and collaborating with her.
The exhibition is made up of four different sessions: Youth, her training with Horace and her first successes (1593-1620);
Self-portraits, Judiths and other heroines;
The years of maturity (1620-1654) and Artemisia in Naples (1630-1654).
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Artemisia's activity in Naples covers twenty-five years and, although interrupted by her stay in London (1638-1640), represents the longest stage of her career as a painter.
His production of these years is vast and includes altarpieces and sacred paintings such as the canvases of Pozzuoli, the Annunciation dated 1630 from the Capodimonte Museum or the Birth of Battista del Prado, part of a series destined for the Palazzo Reale del Buen Retiro in which the Neapolitan Stanzione also collaborated, and stories and figures of heroines.
In Naples Artemisia Gentileschi, as evidenced by documents, collaborated with numerous other painters: Onofrio Palumbo, Bernardo Cavallino, Micco Spadaro, Viviano Codazzi, Giuseppe Di Franco, Titta Colimodio.
She collaborates and also influences with other local naturalists, such as Paolo Finoglio, Francesco Guarino,