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Artemisia 1997 123movies

Artemisia 1997 123movies

Her passion for her art changed the face of history.Sep. 10, 199798 Min.
Your rating: 0
6 1 vote

Synopsis

#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – Artemisia Gentileschi (1593-1653) was one of the first well-known female painters. The movie tells the story of her youth, when she was guided and protected by her father, the painter Orazio Gentileschi. Her professional curiosity about the male anatomy, forbidden for her eyes, led her to the knowledge of sexual pleasure. But she was also well known because in 1612 she had to appear in a courtroom because her teacher, Agostino Tassi, was suspected of raping her. She tried to protect him, but was put in the thumb screws…
Plot: Artemisia Gentileschi (1593-1653) was one of the first well-known female painters. The movie tells the story of her youth, when she was guided and protected by her father, the painter Orazio Gentileschi. Her professional curiosity about the male anatomy, forbidden for her eyes, led her to the knowledge of sexual pleasure. But she was also well known because in 1612 she had to appear in a courtroom because her teacher, Agostino Tassi, was suspected of raping her. She tried to protect him, but was put in the thumb screws…
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Ratings:

Artemisia 1997 123movies 1 Artemisia 1997 123movies 26.7/10 Votes: 2,096
Artemisia 1997 123movies 3 Artemisia 1997 123movies 267%
Artemisia 1997 123movies 5 Artemisia 1997 123movies 2N/A
Artemisia 1997 123movies 7 Artemisia 1997 123movies 25.9 Votes: 34 Popularity: 4.091

Reviews:

In the service of a greater falsehood
Artemisia Gentileschi was not, contrary to the impression given by this film, the first woman to earn her living as a professional painter, but she is perhaps the earliest female painter who is still well-known. (Earlier female painters such as Sofonisba Anguissola and Fede Galizia are less widely remembered today). The daughter of another famous painter, Orazio Gentileschi, she was born in 1593 and probably died at some time during the 1650s. (The exact date of her death is not known, but it is known that she was still alive and working in her early sixties). The film is not a full biography of Artemisia, but rather concentrates upon the events of her late teens, especially the trial of the painter Agostino Tassi, who was convicted of raping her.

The film has many good points. The lovely Valentina Cervi, who plays Artemisia, makes a ravishing heroine. Like another recent film about a great 17th century artist, “Girl with a Pearl Earring”, it is visually beautiful and tries to capture the look of the paintings of the era. Artemisia, like many Italian painters of the early 1600s, was greatly influenced by the example of Caravaggio, especially his use of chiaroscuro, the contrast of light and dark, in order to heighten a picture’s visual, dramatic and emotional impact. Some of the interior scenes in the film are clearly intended to imitate this style of painting, but director Agnes Merlet also seems to have been influenced by other artists and other artistic genres of the period, notably its still lives and landscapes. The scenes by the coast seem to have been modelled upon 17th century Dutch seascapes.

Like a number of other reviewers, however, I was disturbed by the way in which the film dealt with the facts of Artemisia’s life. Now it is common for films about real historical events to take liberties with the truth, and the result is not automatically a bad or dishonest film. “Girl with a Pearl Earring”, for example, which I consider to be one of the greatest films of the current decade, introduces an entirely fictitious episode into the life of a real historical figure, the painter Vermeer. It does so, however, in the service of a greater truth, in order to make some important points about artistic creativity, about social class and about friendship between men and women.

“Artemisia”, by contrast, distorts the facts of its subject’s life in the service of a greater falsehood. In real life Tassi was a despicable character who attempted to kill his wife, committed incest with his sister-in-law and raped a number of women; he was undoubtedly guilty of the rape of Artemisia. In the film, however, he and Artemisia are lovers, and the sex between them is purely consensual. Tassi is depicted as the victim of false accusations brought by Artemisia’s father. Although Orazio loves Artemisia, and encourages her in her career, he is played by Michel Serrault as over-protective, unable to accept that his daughter could have lost her virginity voluntarily. In reality Orazio was in his late forties at the time of the events portrayed, but Serrault was nearly seventy when the film was made, a piece of casting doubtless intended to emphasise the generation gap between the passionate young woman and her puritanical old father. We also see Artemisia’s famous painting of Judith decapitating Holofernes, which in reality was not painted until after Tassi’s trial. Indeed, some commentators have seen this painting as representing her psychological revenge on Tassi, although it should be pointed out that this was a common subject in Italian painting at this period; both Caravaggio and Artemisia’s older contemporary Galizia painted versions.

Why, I found myself wondering, did Merlet take so many liberties with history? I think that the answer was not, as some have assumed, because she simply wanted to make a soft porn film, but because she wanted to make Artemisia, who seems obsessed with drawing pictures of male genitalia, into a sexually liberated feminist heroine. The problem is that the concept of “sexual liberation” is a late twentieth century one and that it is an anachronism to introduce it into a film set in the early seventeenth century, a period when there were no reliable methods of contraception and when ideas about female honour and chastity were very different to those of today. In other respects, especially in her willingness to challenge the idea that art was an exclusively male calling, Artemisia Gentileschi can be seen as a proto-feminist, but this does not mean that it is right to see her as a woman of the 1990s transported back in time. Moreover, what sort of feminism is it which portrays as a tender lover a man who in reality was a brutal rapist? 6/10

Review By: JamesHitchcock Rating: 6 Date: 2009-05-21
A woman ahead of her times
Artemisia Gentileschi, the daughter of Orazio Gentileschi, showed an early promise as a painter. Taught by her father, Artemisia was born in an era that denied talented women the right to have their work seen side by side art created by men. Her tragic life is chronicled in this biographic film directed and co-written by Agnes Merlet.

Having read the novel “The Passion of Artemisia” by Susan Vreeland, made us investigate more into the life of this woman, her work, and her legacy. We also read Mary Garrard’s “Artemisia Gentileschi”, which should be a must read book by all art lovers.

“Artemisia” presents the fictionalized facts we have read about showing the early life of the young woman as she starts to paint. She was clearly influenced by the work of her father, by Caravaggio, Agostino Tassi, and other Florentine painters of that period. Her relationship and love affair with Tassi is the basis of the film. Artemisia, unfortunately couldn’t go as far as she could have because of the prejudice against women in the arts. It didn’t help either she caused a scandal where she is accused of being raped by Tassi. She had to go to Rome in order to distance herself from that unhappy time of her life.

Valentina Cervi makes a beautiful Artemisia. She is a gorgeous creature who awakened passion in men. Michel Serrault plays Orazio, her father. Miki Maojlovic is seen as Tassi, the man who wanted Artemisia, but ended up in jail. Emmanuelle Devos appears for a moment.

The film has a glossy finish that the camera work of Benoit Delhomme captures in all its splendor. The scenic locales of the film offer an idea of what inspired that school of painting to show in their canvases. The music by Krishna Levy serves well what we see. Agnes Merlet directed with sure hand showing a visual style of her own.

Review By: jotix100 Rating: 8 Date: 2006-08-27

Other Information:

Original Title Artemisia
Release Date 1997-09-10
Release Year 1997

Original Language fr
Runtime 1 hr 38 min (98 min)
Budget 0
Revenue 0
Status Released
Rated R
Genre Biography, Drama, History
Director Agnès Merlet
Writer Patrick Amos, Agnès Merlet, Christine Miller
Actors Valentina Cervi, Michel Serrault, Predrag ‘Miki’ Manojlovic
Country France, Italy, Germany
Awards 1 win & 5 nominations
Production Company N/A
Website N/A


Technical Information:

Sound Mix Dolby Digital
Aspect Ratio 1.85 : 1
Camera Panavision Panaflex Gold II, Panavision Primo Lenses, Panavision Panaflex Platinum, Panavision Primo Lenses
Laboratory Laboratoires Franay Tirages Cinematographiques (LTC), Paris, France (prints), Technicolor S.p.a., Roma, Italy (processing) (dailies)
Film Length N/A
Negative Format 35 mm (Eastman EXR 50D 5245, Kodak Vision 500T 5279)
Cinematographic Process Spherical
Printed Film Format 35 mm

Artemisia 1997 123movies
Original title Artemisia
TMDb Rating 5.9 34 votes

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