最后的荒漠

这部电影讲述的是女画家阿特米西亚与另一位画家阿格斯提诺之间惺惺相惜的爱情。片中的女主人公阿特米西亚•简提列斯基(Artemisia Gentileschi)在历史上确有其人，她出生于艺术世家，父亲奥拉其奥•简提列斯基(Orazio Gentileschi 1563－1639)是在意大利很有名望的画家。
阿特米西亚拥有绘画的天赋，为父亲发掘并培养。其后，阿特米西亚结识了父亲的朋友兼同事阿格斯提诺•塔西（Agostino Tassi 1578-1644），塔西教给她更多的绘画技巧以及对艺术的认知，在这个过程中，两人萌发了爱情。阿特米西亚将自己的童贞交给了塔西。其父得知后要求塔西娶她为妻，因为只有这样才能保全她的名誉。但塔西默不做声，简提列斯基异常愤怒，将塔西以强奸自己女儿的罪名告上法庭。在法庭上阿特米西亚否认塔西强奸了他，并一再声明自己是爱他的。由于供词与事实不符（阿特米西亚在法庭上声称自己仍是处女），法庭决定对阿特米西亚用刑。塔西看着自己心爱的女人受刑，艺术家的手指被拧得血流如注，心如刀绞。不是塔西不愿娶她，而是他已经有了合法的妻子。除了承认自己强奸了阿特米西亚，他没有别的办法保护她，维护她的名誉。塔西最终承认侮辱了阿特米西亚，被判入狱。至此，父女感情破裂，阿特米西亚离开了父亲。1612年，她和艺术家皮埃托•斯提阿特西结婚且定居佛罗伦萨，还成为了瓦萨里创建的绘画学院的第一位女性成员。

历史上的阿特米西亚集才华、荣誉、耻辱于一身，她的天才和那场强奸案都同样引人注目。但我相信塔西是真的爱着阿特米西亚和她的天赋。在监禁室里塔西对阿特米西亚着描绘他看到的两座相连的山峰和广阔的天空。当阿特米西亚独自来到海边，描摹着他眼中的风景。也许，那两座相连的山峰代表着相爱的彼此，而天空则是艺术与世界的象征。
其实这部电影我看地三心二意，一是因为在此之前就读过非常详细的剧情介绍，二是因为这部电影不如我想象的抒情优美。直到阿特米西亚受刑的一幕，我终于看到了激情迸发的爱情，无私的奉献以及彼此的忠贞。



 
她的代表作:犹蒂砍杀奥勒菲(Judith Beheading Holofernes)
十七世纪美术
巴洛克
绘画，宗教

附一段网络上搜索的相关信息

As with much of Artemisia Gentileschis work, scholars have tried to explain the hair-raising Judith Beheading Holofernes as a personal reaction to her date-rape trial of 1612, but, in truth, her point of departure was far more visual than psychological. Her primary source was undoubtedly Caravaggios Judith (Galleria Nazionale dArte Antica, Rome) from some ten years earlier. The intense violence of the slaying, the lack of decorative details and even Judiths stiff parallel arms are all reliant on Caravaggio. Artemisia probably also knew Adam Elsheimers Judith Beheading Holofernes (Victoria and Albert Museum, London), which was owned by Rubens. Elsheimers small copper may have influenced the position of Holofernes body and legs, although it should be noted that Artemisias canvas has been cut down on the left and his legs are now missing. Other expressive and compositional elements can be related to the work of her father Orazio, especially his Judith and Her Maidservant (Wadsworth Atheneum, Hartford). The youthful appearance and important co-conspiratorial role given to the maidservant Abra as well as the triangular structure are derived from Orazios Hartford canvas.

Artemisias Judith has such close affinities with her fathers work that a number of scholars have argued for Orazios authorship. It has been suggested that Artemisias Judith Beheading Holofernes (Galleria degli Uffizi, Florence) was essentially a fancy-dress copy of her fathers earlier work and not an independent rethinking of the Naples composition. X-radiographs of the Naples picture reveal a substantial number of changes, which make it highly unlikely that the picture was a repetition of another composition. Furthermore, the quality of the execution is not high enough to be that of Orazio; nor did Orazio ever seek this level of brutal directness. The simplification of the drapery and lack of decorative embellishment are consistent with other pictures painted during Artemisias first Roman period. A number of copies show the composition before it was cut down. A small one on touchstone (Quadreria Arcivescovile, Milan) is paired with a version of Orazios David Contemplating the Head of Goliath (Galleria Spada, Rome). This may imply that both originals were in the same collection and that both were by Orazio, but it could also mean that the patron wanted a diptych by father and daughter.