The Gentileschi Effect

Introduction

Robilant+Voena is pleased to present The Gentileschi Effect, an exhibition of paintings from the Baroque period until today. As Artemisia Gentileschi sought to advance the radical Baroque painting style of Caravaggio, she developed somewhat of a following of her own, including her own daughter Prudentia. The sphere of influence created by Gentileschi's bold canvases and biblical heroines reaches all the way to the 21st century, where her pictures continue to inspire artists and her liberated female voice still has the power to break ground. The Gentileschi Effect takes a comprehensive look at Gentileschi's role among her colleagues and her students, as well as contemporary artists and institutions. The exhibition will be enhanced by a conversation on the topic on 4th December between Letizia Treves, The James and Sarah Sassoon Curator of Later Italian, Spanish, and French 17th-Century Paintings at the National Gallery, and Thomas Marks, Editor of Apollo magazine.

Works

<div class="artist"><strong>Viviano Codazzi and Figures by Domenico Gargiulo</strong></div><div class="title_and_year"><em>A View of the Villa Poggioreale, Naples</em>, 1642/3</div><div class="medium">Oil on canvas</div><div class="dimensions">77.4 x 100.8 cm / 30.4 x 39.6 in</div>

<div class="artist"><strong>Artemisia Gentileschi</strong></div><div class="title_and_year"><em>Portrait of a Gentleman (Antoine De Ville)</em>, c. 1625-40</div><div class="medium">oil on canvas</div><div class="dimensions">204.5 x 109.2 cm / 80.52 x 42.992 in.</div>

<div class="artist"><strong>Prudenzia Gentileschi (?)</strong></div><div class="title_and_year"><em>Allegory Of Rhetoric</em></div><div class="medium">Oil on canvas</div><div class="dimensions">90 x 72cm / 35.4 x 28.3in</div>

<div class="artist"><strong>Francesco Vezzoli</strong></div><div class="title_and_year"><em>Retorica della Retorica - featuring Josef Albers & Natalia Goncharova (After Artemisia Gentileschi)</em>, 2013</div><div class="medium">Oil on canvas, laserprint collage, artist’s frame</div><div class="dimensions">113 x 93 x 8 cm</div>

<div class="artist"><strong>Giuseppe Vermiglio</strong></div><div class="title_and_year"><em>David with the head of Goliath</em></div><div class="medium">Oil on canvas</div><div class="dimensions">130 x 101 cm<br/>
51 1/8 x 39 3/4 in</div>

<div class="artist"><strong>Andrea Vaccaro</strong></div><div class="title_and_year"><em>Judith with the Head of Holofernes</em>, c. 1630s</div><div class="medium">Oil on canvas</div><div class="dimensions">127.5 x 101 cm / 50.197 x 39.76 in.</div>

<div class="artist"><strong>Guido Cagnacci</strong></div><div class="title_and_year"><em>Portrait of a soldier, three-quarter-length</em>, Circa 1640</div><div class="medium">Oil on canvas</div><div class="dimensions">126.7 x 94 cm / 49.9 x 37 in</div>

<div class="artist"><strong>Francesco Furini</strong></div><div class="title_and_year"><em>The Martyrdom of St. Sebastian</em></div><div class="medium">Oil on canvas</div><div class="dimensions">190 x 120 cm <br/>
74.8 x 47.2 in</div>

<div class="artist"><strong>Baldassare Franceschini, called Volterrano</strong></div><div class="title_and_year"><em>Portrait of Marquis Luigi di Alberto Altoviti as Ganymede</em></div><div class="medium">Oil on canvas</div><div class="dimensions">87.5 x 71 cm<br/>
34 1/2 x 28 in</div>

<div class="artist"><strong>Roman School</strong></div><div class="title_and_year"><em>Portrait of Giovanni Lanfranco</em>, c. 1640</div><div class="medium">Oil on canvas</div><div class="dimensions">85.7 x 64.8 cm / 33.7 x 27.5 in</div>

<div class="artist"><strong>Luca Giordano</strong></div><div class="title_and_year"><em>The Abduction of Proserpina</em></div><div class="medium">Oil on canvas</div><div class="dimensions">130 x 180 cm / 51.2 x 70.9 in</div>

<div class="artist"><strong>Pompeo Batoni</strong></div><div class="title_and_year"><em>Portrait of George Craster (1734-1772), half-length, in the gold-frogged, red and blue uniform of the Horse Grenadier Guards, holding a tricorn</em></div><div class="medium">Oil on canvas</div><div class="dimensions">76.4 x 63.5 cm / 30.1 x 25 in</div>

<div class="artist"><strong>Marianne Loir</strong></div><div class="title_and_year"><em>Portrait of Monsieur de Fontaine</em>, c. 1760</div><div class="medium">Oil on canvas</div><div class="dimensions">91.5 x 65 cm</div>

<div class="artist"><strong>Sir Martin Archer Shee P.R.A.</strong></div><div class="title_and_year"><em>Portrait of a Young Man</em></div><div class="medium">oil on canvas</div><div class="dimensions">79 x 63 cm</div>

<div class="artist"><strong>Jacques-Emile Blanche</strong></div><div class="title_and_year"><em>Portrait of George Porto-Riche</em>, 1889</div><div class="medium">Oil on canvas</div><div class="dimensions">100 x 65 cm/ 39.4 x 25.6 in</div>

Viviano Codazzi and Figures by Domenico Gargiulo

A View of the Villa Poggioreale, Naples, 1642/3

Oil on canvas

77.4 x 100.8 cm / 30.4 x 39.6 in

Installation

Press

Press release

Robilant+Voena is pleased to present The Gentileschi Effect, an exhibition of paintings from the Baroque period until today. As Artemisia Gentileschi sought to advance the radical Baroque painting style of Caravaggio, she developed somewhat of a following of her own, including her own daughter Prudentia. The sphere of influence created by Gentileschi's bold canvases and biblical heroines reaches all the way to the 21st century, where her pictures continue to inspire artists and her liberated female voice still has the power to break ground. The Gentileschi Effect takes a comprehensive look at Gentileschi's role among her colleagues and her students, as well as contemporary artists and institutions. The exhibition will be enhanced by a conversation on the topic on 4th December between Letizia Treves, The James and Sarah Sassoon Curator of Later Italian, Spanish, and French 17th-Century Paintings at the National Gallery, and Thomas Marks, Editor of Apollo magazine.