In the late 1570s or early 1580s Gentileschi moved to Rome, and was
associated with the landscape-painter Agostino Tassi, executing the figures for
the landscape backgrounds of this artist in the Palazzo Rospigliosi, and it is
said in the great hall of the Quirinal Palace, although by some authorities the
figures in the last-named building are ascribed to Giovanni Lanfranco. He worked
also in the churches of Santa Maria Maggiore, San Nicola in Carcere, Santa Maria
della Pace and San Giovanni in Laterano.
However, Gentileschi's main influence starting from the early 17th century was
Caravaggio, also in Rome at the time, whose style he was one of the best
followers of. Sharing with the former shadowy characteristics, he took part in
several adventures in Rome's streets. In late August of 1603 Giovanni Baglione
filed a suit for libel against Caravaggio, Gentileschi, Ottavio Leoni, and
Filipo Trisegni in connection with some unflattering poems circulated amongst
the artistic community of Rome over the preceding summer. Caravaggios testimony
during the trial as recorded in court documents is one of the few insights into
his thoughts about the subject of art and his contemporaries.[1] In 1612 he was
again called to the Tribunal of Rome, this time to speak against Tassi, who was
charged with the rape of his daughter Artemisia Gentileschi. After Caravaggio's
flight from Rome, Gentileschi developed a more personal Tuscan lyricism,
characterized by lighter colours and precision in detail, reminiscent of his
Mannerist beginnings. After a long sojourn in the Marche, in the early 1620s
Gentileschi went to Genoa, and then to Paris, at the court of Marie de Medici.
.
In 1626 he left France to work for Charles I of England, where he remained for
the rest of his life. His works became increasingly conventional and decorative,
but were appreciated by the local aristocracy for their classicism. Van Dyck
included him in his portraits of a hundred illustrious men.
Gentileschi died in 1639 in London.
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