PHARM 293 pharmacology

PHARM 293 pharmacology

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Buckley, P. J. (2013). Artemisia Gentileschi, 1593–1653. American Journal Of Psychiatry, 170(8), 832- 833.This article gives a brief insight into Artemisia Gentileschi’s life. She is presented as a talented artist with an ignominious past. Here it is said (pg. 832, paragraph 3), “These include posing for her father as a nude life model; her rape by one of his studio assistants, Agostino Tassi, when she was 17.” After these events, including a trial to convict her rapist, she went to Florence from Rome, and her artwork was much more appreciated. (pg. 832 paragraph 3), “There she gave birthto four children, and her career, freed from the shadow of her father and his atelier, flourished under the patronage of the Medici court.” She gained the admiration of many great people, including Galileo, and she rose above with her skills and perseverance against males during her time, as the female Baroque, Caravaggio Painter.Firstly, this was a wonderful summary of Artemisia’s life. While reading this article, I was able tocatch a glimpse of the woman she was and how she came to be. There is a huge reflection (pg. 833 paragraph 2 and pg. 832 paragraph 3) on her rape, and how it influenced one of her more famous paintings, Susanna and the Elders, where two old men are spying on the maiden bathing.It is told that those men represent her father, and his student-her mentor and rapist. The most misinterpreted thing in this whole article, is that her early works may have been representations of her anger toward those two men, but her most famous and representative painting are about woman being empowered and possible representations of herself rising in a male oriented society. There is no mention of this in the article and that is the mistake.Costa, P. (2001). Artemisia Gentileschi and the Authority of Art (Book). Women’s Studies, 30(2), 273.
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Artemisia GenTleschi2Bissel, R. Ward (1968). Artemisia Gentileschi-A New Documented Chronology (Article). The Art Bulletin, 50 (2),153-168. The first reference was a summary of the article, the second reference is the aricle, that’s why there are two.In both the review and Bissel’s own article, it is consistently mentioned that Bissel does not take Artemisia’s works as an approach to feminism no a suggestion to her past. He does not outright deny the tie to feminism, but admits he believes that the interpretations have been greatly exaggerated. However, towards the end of Bissel’s article, he talks about Gentileschi’s work being represented as truth when she adopted the Caravaggio style, but it is not clear to which truth he refers to, (pg.165), “Never overly con