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Artemesia Gentileschi

(and her person) repeatedly, because of this promise. However, he always avoided following through with the actual marriage. The trial followed a pattern familiar even today. Artemesia was accused of not having been a virgin at the time of the rape and of having many lovers. She was examined by midwives to determine whether she had been "deflowered" recently or a long time ago. Perhaps more disturbing for an artist like Gentileschi, Tassi testified that her skills were so bad that he had to teach her the rules of perspective. This is awhat he said he was doing the day she claimed to have been raped by him. Tassi denied ever having sexual relations with Gentileschi and brought many witnesses to testify that she was an "insatiable whore." One witness, atenant and friend of Gentileschi's, Tuzia, supported Tassi in the age old defense of "seduction". Orazio fought their testimony and brought countersuit for perjury. Artemesia's accusations against Tassi were confirmed by Giovanni Battista Stiattesi. Stiattesi (a former friend or possible lover of Tassi's bragging about his sexual abuse at Artemesia's expense. Tassi was imprisoned earlier for insest with his sister in law and was charged with arranging the murder of his wife. Yet the trial ended with the charges against him being dismissed. During and soon after the trial, Gentileschi painted "Judith Slaying Holofernes" (1612-1613). The painting is special, not only for the original way in which Gentileschi portrays Judith, who had long been a popular subject for art. One month after the long trial ended, in November of 1612, Artemesia was married to a Florentine artist, Pietro Antonio di Vincenzo Stiattesi, and they moved to Florence, probably the next year. While there, she had a daughter named either Prudentia or Palmira. In Florence, Gentileschi returned to the subject of Judith, completing "Judith and Her Maidservant" in 1613 or 1614. Again, Gentileschi's treatment...

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