在那里，Gentileschi被迫在一个叫做sibille的早期“说实话”装置的胁迫下重复袭击的细节，这个装置逐渐收紧她的手指。在审判结束时，Tassi被判有罪并被判处五年罗马驱逐，他从未服过。许多人推测他的惩罚没有得到执行，因为他是教皇英诺森X最喜欢的艺术家。在审判之后，Gentileschi与Pierantonio Stiattesi（一位未成年佛罗伦萨艺术家）结婚，有两个女儿，并成为意大利最令人向往的肖像画家之一。 Gentileschi在她的一生中取得了巨大的成功 – 这对她那个时代的女艺术家来说是一个罕见的成功。一个无可争议的例子是她入读着名的Accademia del Disegno，由科西莫德梅迪奇于1563年创立。作为行会的一员，Gentileschi能够在未经丈夫许可的情况下购买油漆和其他艺术材料。当她决定将自己与他分开时，她会发挥作用。凭借新发现的自由，Gentileschi花时间在那不勒斯和后来的伦敦画画，1639年左右她被传唤到查理一世国王的宫廷画画.Gentileschi也受到其他贵族（其中包括强大的Medici家族）和成员的光顾。罗马的教会。 Artemisia Gentileschi最着名的画作是朱迪思的圣经人物，他为了拯救她的村庄而斩首将军Holofernes。巴洛克时期的许多艺术家描绘了这幅画像;通常情况下，艺术家将朱迪思的角色描述为诱惑者，她使用她的诡计来诱骗她后来杀死的男人，或者高贵的女人，她愿意牺牲自己来拯救她的人民。 Gentileschi的描述在坚持Judith的力量方面是不寻常的。艺术家并不回避描绘她的朱迪思正在努力切断Holofernes的头部，这导致了一个令人回味和可信的形象。
澳大利亚迪肯大学网课代修：朱迪思
There, Gentileschi was forced to repeat the details of the attack under the coercion of an early “truth” device called Sibille, which gradually tightened her fingers. At the end of the trial, Tassi was found guilty and sentenced to five years of Roman expulsion, he had never taken it. Many people speculate that his punishment has not been implemented because he is the favorite artist of Pope Innocent X. After the trial, Gentileschi married Pierantonio Stiattesi (an underage Florentine artist) with two daughters and became one of Italy’s most desirable portrait painters. Gentileschi has had great success in her life – a rare success for female artists of her time. An undisputed example is her admission to the famous Accademia del Disegno, founded in 1563 by Cosimo de Medici. As a member of the guild, Gentileschi was able to purchase paint and other art materials without the permission of her husband. When she decides to separate herself from him, she will play a role. With the newly discovered freedom, Gentileschi spent time painting in Naples and later London. Around 1639 she was summoned to the court paintings of King Charles I. Gentileschi was also patronized by other nobles (including the powerful Medici family) and members. . Church of Rome. Artemisia Gentileschi’s most famous painting is Judith’s biblical figure, who beheaded General Holofernes to save her village. Many artists in the Baroque period portrayed this portrait; usually, the artist described Judith’s role as a tempter, she used her tricks to trick her later killed man, or a noble woman, who was willing to sacrifice herself to save. Her people. Gentileschi’s description is unusual in adhering to the power of Judith. The artist does not shy away from depicting her Judith is trying to cut off Holofernes’s head, which leads to an evocative and credible image.