Artemisia Gentileschi (1593 c. 1656): Judith Beheading Holofernes, 1611, oil on canvas, 158,8 x 125,5 cm, Museo Nazionale di Capodimonte, Naples.
Artemisia Gentileschi (c. 1593-1656) was the daughter of Orazio Gentileschi, a follower of Caravaggio. She is widely regarded as the most accomplished female painter of the 17th century. After a scandal in Rome involving a rape case she brought against the landscape painter Agostino Tassi, Gentileschi moved to Florence. This case, which ended with Gentileschi's humiliation, is now seen as a symbol of the violence women have endured throughout history.
The scene of Judith beheading Holofernes has been a popular subject in art since the early Renaissance, as part of a group of subjects called the Power of Women. Caravaggio's 'Judith Beheading Holofernes' is believed to be the main source of inspiration for Gentileschi's work, as his influence is evident in the naturalism and violence she brings to her canvas.
The painting depicts an episode from the Book of Judith, which is not considered canonical by Christian Churches and Jews. It tells the story of the assassination of the Assyrian general Holofernes by the Israelite heroine Judith. Gentileschi's painting shows the moment when Judith, helped by her maidservant, beheads the general after he has fallen asleep drunk.
The painting is strikingly physical, with wide spurts of blood and the energy of the two women as they carry out the act. The effort of their struggle is most finely represented by the delicate face of the maid, who is grasped by the oversized, muscular fist of Holofernes as he desperately struggles to survive. Although the painting depicts a classic scene from the Bible, Gentileschi drew herself as Judith and her mentor Agostino Tassi, who was tried in court for her rape, as Holofernes.
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Artemisia Gentileschi (1593 c. 1656): Judith Holofernes'i Boynunu Kesiyor, 1611, tuval üzerine yağlı boya, 158,8 x 125,5 cm, Museo Nazionale di Capodimonte, Napoli.
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Caravaggio'nun takipçisi Orazio Gentileschi'nin kızı olan Artemisia Gentileschi, 17. yüzyılın en yetenekli kadın ressamı olarak kabul edilen, Roma'da peyzaj ressamı Agostino Tassi'ye karşı tecavüz davası açtıktan sonra skandalı kaçmak için Floransa'ya taşındı. Bu dramatik olayın, Artemisia'nın aşağılanmasıyla sonuçlanan şekilde öngörülebilir bir şekilde sonuçlanması belgelerle kanıtlanmıştır ve bugün kadınların yüzyıllardır maruz kaldığı şiddetin sembolü olarak kabul edilir.
Judith'in Holofernes'i boynunu kesme sahnesi, Kadınların Gücü adı verilen konu grubunun bir parçası olarak erken Rönesans'tan beri sanatta popüler olmuştur.
Caravaggio'nun 'Judith Holofernes'i Boynunu Kesiyor' adlı eseri, bu çalışmanın ana kaynağı olduğuna inanılır ve Gentileschi'nin tuvaline getirdiği doğalcılık ve şiddet etkisi görülebilir.
Konu, Hristiyan Kiliseleri ve Yahudiler tarafından genellikle kanonik olarak kabul edilmeyen Judith Kitabı'ndan bir bölümü ele alır. İsrailli kahraman Judith'in Asur generali Holofernes'i öldürmesini anlatır. Tablo, Judith'in hizmetçisi tarafından yardım edilerek, general sarhoş uyurken onu boynunu keserkenki anı gösterir.
Tablo, geniş kan püskürtmelerinden, iki kadının eylemi gerçekleştirdiği enerjiye kadar acımasızca fizikseldir. Kadınların mücadelesinin çabası, Holofernes'in umutsuzca hayatta kalmak için kavradığı, büyük ölçekli, kaslı yumruğu tarafından en iyi şekilde temsil edilen hizmetçinin narin yüzüyle gösterilir. Tablo, Kutsal Kitap'tan klasik bir sahneyi tasvir etse de, Gentileschi, kendini Judith olarak çizmiş ve ona tecavüz davası için mahkemede yargılanan mentörü Agostino Tassi'yi Holofernes olarak tasvir etmiştir.
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You're not wrong about anything wrt cost of flying, but man is it bracing to wake up to a reminder that I can never ethically see most of my loved ones in-person again.
hmm. i think this is also the wrong way to think about it. flying is not a sin. being in some indirect way responsible for a certain amount of carbon emissions does not Taint Your Soul. and absolutist frameworks for this kind of thing are not helpful to anybody, least of all the people who actually might already be contributing to fixing problems like this through positive behaviors, like voting or political organizing.
the problem with carbon emissions is that they're a difficult to solve collective action problem, where a lot of the incentives point in a harmful direction, not that they are Fundamentally Immoral, and i think that's an important distinction to make, because i think a handful of semi-scrupulous individuals flagellating themselves and depriving themselves of things that would make them happy in the long run has no real effect on big problems like this. you not seeing your family is not going to fix global warming! and there are not enough people who are willing or able to act on guilt alone to refrain from flying that it's going to meaningfully dent emissions from the air transport sector.
what we need are policies that shape collective decisionmaking. this is why a fat carbon tax (especially when coupled with a rebate for lower-income people) can be a useful policy: it might make it harder to fly to visit family, but it won't make it categorically impossible, and it will reduce air travel in general, or encourage finding lower-carbon alternatives that allow people to travel just as much, like high-speed trains or, i don't know, some kind of fancy jet fuel that emits less CO2.
honestly, if you vote consistently for pro-environmental policies and parties, if you donate a bit of spare cash from time to time to the same, and/or if you are minimally politically active in other ways, and you're not, like, the CEO of BP in your professional life, you are fine. go, free from sin. if everyone did that, the problem of carbon emissions could be solved in a few years. now, you might go, "but not everyone is doing that!" well, not everyone is sitting at home miserable because they missed seeing grandma on her deathbed; that won't solve global warming either. in fact, it will do even less to solve global warming, because it is (and i say this with compassion) an anxious, guilt-ridden, useless gesture meant to salve your own spirit, not actually a contribution to solving the problem.
in general, i am really opposed to letting a vast and nebulous sense of guilt on big, systemic problems shape your personal behaviors. none of the behaviors that these feelings of guilt ban ever contribute to significant or systemic improvements in the problem--guilt is not building nuclear plants or preventing oil from being drilled. and in my experience, the kind of people who feel this guilt are prone to anxiety, maybe as kids were made overly responsible for the emotional state of people around them, and thus feel an outsized sense of responsibility in other areas of their life, and they mistakenly think that 1) this is a healthy way to go through life, 2) if they don't go through life this way they're a Bad Person, and 3) most people (or most people they think of as Good People) feel this way.
i wish to free people from this burden. there are no individual solutions to big collective action problems! and if reading about global warming, or racism, or poverty, or any other big social problem fills you with an enormous sense of guilt and has you wracking your brain for ways you can help by cutting/reducing/abstaining from things in your life, congratulations, you are one of many people in this world who can be at least 300% more selfish and still be a certified Good Person. so, uh, chill.
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1/16/24
I thought some painters out there might find this helpful to see how an underpainting can help you plot out your composition, build shadows, and unify the colors of your finished product.
The underpainting is a layer of paint that is thinned down to achieve loose, almost watercolor-esque sketches that are easy to manipulate, move, and erase if the initial drawing is not to your liking. Later layers of paint can be more opaque and will actually have a wonderful glow to them if you are strategic with how translucent your color and detail layer are. What’s more, it doesn’t have to be a bunch of work that just gets covered up; Sometimes I love the gesture of the underpainting so much it stays a part of the finished product. Happy painting!
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