《欲海轮回》是一部由阿涅丝·梅尔莱执导，瓦伦蒂娜·切尔维 / 米歇尔·塞罗尔 / 马诺伊洛维奇主演的一部传记 / 剧情 / 爱情类型的电影，特精心从网络上整理的一些观众的影评，希望对大家能有帮助。

　　《欲海轮回》影评(一)：不知为什么被冠以这样的中文翻译

　　难道是为了吸引眼球才被翻译成《欲海轮回》的吗？

　　多么艺术的一部片子啊。。。

　　不过确实这样的片子在中国受众实在太少了，

　　但爱好美术和文艺复兴的朋友是不能错过这部片子的。

　　《欲海轮回》影评(二)：矫情地把艺术家再次客体化

　　Tassi居然是男主角真让人无语，那个被操控的审判中塔西作为陷害者居然被拍成了拯救者....故事改编实在过分，自画像是Artemisia30岁的作品，被拍成了17岁的部分作品；朱迪丝是在审判后的作品，很多地方前后矛盾，比如”塔西的权势“和”女仆同伴“这样抖出的包袱后来为了"爱情故事"恨不得删了吧。一个女艺术家故事一定要有男主角吗？展现的不是她之后更为传奇的成为艺术家的故事而一定要一遍遍加工扭曲这个故事，而且作为受害者被拍成自愿的才可以勉强塞进电影里”两情相悦“的俗套剧情中么？

　　《欲海轮回》影评(三)：Artemisia

　　片中的女主人公阿特米西亚·简提列斯基(Artemisia Gentileschi 1593－1652)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，她擅长创作富有表现力的作品，某种程度上这也是她戏剧性一生的反映。阿特米西亚在19岁时在罗马被父亲的朋友兼同事阿格斯提诺·塔西强奸，并在随后的审讯过程中饱尝折磨，但她以惊人的毅力克服了那个时代的性别偏见，最终塔西被绳之以法。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。

　　《欲海轮回》影评(四)：画如人生

　　剧中着重展示了两幅Artemisia Gentileschi，一幅是自画像，维基显示是创作于1630年，但剧中是17岁对镜自画，不管是什么时候画的，都仅仅是画家留存在人间的唯一肖像，虽然是个侧面图，但丰满而标致，Artemisia应该是属于美女之列。第二幅是Judith Slaying Holofernes,创作于1614到1620年间，这个和电影中吻合，虽然电影中Artemisia和Agostino Tassi情投意合，但显然Tassi占有了Artemisia后，一度使Artemisia憎恨男人，所以才创作这样的作品，维基里说Tassi本来准备娶Artemisia，但绯闻Artemisia与其他男子保持不正当关系，不过如果真的这样的话，Tassi是始作俑者。Artemisia的扮演者意大利演员Valentina Cervi很美，但演得有些过了。

　　《欲海轮回》影评(五)：性事

　　性事

　　可以只是荒淫

　　只是交易

　　只是寻欢作乐

　　只是麻痹灵魂的调剂

　　也或是为艺术创作猎取灵感的来源。。。

　　而同时又是如此庄严、谨慎

　　可以因此毁灭一个人的前程、声誉、才华，包括深爱的命运

　　又是如此圣洁、美好

　　是心与心的欢乐交融

　　灵与肉的天然契合

　　她说：那是他带给我的欢乐

　　而他

　　捍卫她的神圣光环

　　为她付出一切

　　前程、声誉、才华，甚至包括生命

　　因而

　　原来

　　热爱才使人类延续

　　文明得以永恒

　　－－－－－－－－－－－－－－－－－－－－－－－－－

　　十七世纪，罗马。画家的女儿阿尔特米西亚，后来成为世界上第一个女艺术家，她的画陈列在巴黎的洛维莱博物馆以及纽约首都艺术博物馆。本剧表现她初入画界时的经历，重点是这段带着绘画启蒙与性启蒙，影响她一生的苦涩恋情。

　　中文名译为《欲海轮回》，实在不靠谱。

　　美而窒息的古罗马风光，希腊石雕像般的美丽女主角，也是很好的看点。

　　《欲海轮回》影评(六)：所以说有些女人啊……名字真的就叫弱者

　　作为一个工科出身被认为“除了那层皮之外毫无女性特征”的人，真心看不上某些女导演。

　　这明明被定性成“强奸案”的，也定要硬拗成“两情相悦”就算是个人观点不同吧，但是在拗的同时好不好注意一下逻辑！Tassi还没来之前，Artemisia她爹是不是就有摆明了说“这人在教廷里有靠山”，后来审讯的时候就完全当没这回事么？Artemisia他爹硬要把家丑扬得世人皆知对自己女儿的名誉有啥好处，如果不结合当时的背景详细说明的话，实在让人不得要领。还有还有那个酱油女的用处是神马？就是为了说明Tassi对Artemisia是“真爱”——如果是的话，他硬不肯娶她又是为毛？

　　Artemisia好歹也算是大师级的画家，她说要超越Tassi最后也做到了。年轻时候的这段经历给了她更多的创作激情和对某些题材的执着没错，但那种激情更多是来自于仇恨和羞愤，画布上明明白白的。

　　从她嫁人开始，才是她艺术生涯的开始。被学院接受，被达官显贵推崇，开工作室，收自己的学徒，在创作方式上的革新，对后世画家的影响……

　　非要腻歪在她少女时代的那宗强奸案上。你有见过哪个男性画家的传记是只局限于其少年时代的，咹？这次巴黎办Artemisia的特展，礼品部居然还隆重推出本片~~~

　　：在巴黎的同学推荐去看特展啦，具体情况见http://petitespot.wordpress.com/2012/03/25/artemisia-gentileschi锛岃��渚�杈辩殑涓庤��鎹熷�崇殑/

　　《欲海轮回》影评(七)：（转载）她独自来到海边，描摹着他眼中的山峰和天空

　　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。

　　她有画家的天赋，父亲发掘了她，他培养了她，懂得她。

　　他们相爱，世俗不能理解他们的爱情。

　　父亲为了挽救她的名誉，让他们面对法庭的审判。

　　她否认他对她的伤害。

　　她一遍遍说着：我爱他。

　　为了他，她的双手被人拧紧。为了他，十指血流如注。

　　他再也不能忍受加诸于她的伤害，承认侮辱了她。

　　他颤抖地握住她的双手，血染红了他悲痛的双眼。

　　他被判入狱。

　　她独自来到海边，描摹着他眼中的山峰和天空。

　　两颗纠缠的心。

　　作者：koto

　　原文链接http://kotony.blogbus.com/logs/6311799.html

　　《欲海轮回》影评(八)：从电影《阿特米西亚》开始

　　戏剧性画家阿特米西亚

　　从电影《阿特米西亚》开始。

　　电影《阿特米西亚Artemisia》又名《欲海轮回》，

　　法国导演阿格尼斯·莫勒1997年作品,即是

　　讲述文艺复兴时期意大利女画家阿特米西亚青年时代的爱情故事。

　　米歇尔·塞劳、瓦伦蒂娜·切维主演,法国、德国、意大利合拍,

　　片长98分钟,

　　获得纽约电影节最佳影片奖,金球奖-1998(第55届)最佳外语片提名,

　　第五十三届威尼斯国际电影节评审团大奖

　　西班牙圣塞巴斯蒂国际电影节最佳影片金雨奖

　　荷兰鹿特丹国际电影节猛虎奖

　　片中的女主人公阿特米西亚·简提列斯基(Artemisia Gentileschi 1593－1652)

　　一般被认为是文艺复兴及巴洛克时期最伟大的女画家，属于卡拉瓦乔传统的戏剧性画家

　　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，她擅长创作富有表现力的作品，

　　某种程度上这也是她戏剧性一生的反映。

　　阿特米西亚在19岁时在罗马被父亲的朋友兼同事阿格斯提诺·塔西强奸，

　　并在随后的审讯过程中饱尝折磨，但她以惊人的毅力克服了那个时代的性别偏见，

　　最终塔西被绳之以法。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。

　　阿特米西亚·真蒂莱斯奇(1593～1652／53年)，

　　一般被认为是文艺复兴及巴洛克时期最伟大的女画家

　　最近几年中，出现了专为这些艺术家举办的展览和专题介绍，主要有：玛丽加勒德1989年所著《阿特米西亚·真蒂莱斯奇：意大利巴洛克艺术中的女英雄形象》(普林斯顿大学出版社)，此书已经再版了三次，现在平装本仍在出版——表明有众多的读者热衷于这类题材。两年之后，佛罗伦萨的卡萨·波那罗蒂画廊首次专门为真蒂莱斯奇举办了沙龙展，有关材料被收于欧洲相关出版物中。

　　真蒂莱斯奇与其父亲——画家奥拉蔡所处的时代环境联系起来。正如加勒德在他的书中所强调的，属于卡拉瓦乔传统的戏剧性画家阿特米西亚已成为公众对于女性学者及艺术家的兴趣焦点。

　　从1974年以来保存着的阿特米西亚的画作《阿哈苏鲁斯之前的埃瑟》拿出来展览？”克里斯琴森接着说，“只要一腾出空间，这幅作品肯定会成为第一件回到展厅的馆藏巴洛克作品。

　　”正如萨瑟兰·哈里斯总结的：“阿特米西亚实际上成了17世纪的弗里达卡罗。”

　　多数经典的历史教材，包括传播甚广的简森写的《艺术史》已做了修改，把过去遗漏了的关于前代女画家的资料补充进去，但一些著名的图例却仍在教义中被忽视。国家画廊退休的主任馆长及著名的文艺复兴学者西德尼·弗里德伯格评论说：“阿特米西亚一直是个典范。如果她以思维直率且忠实原貌而赢得尊敬，那朱迪斯则属于另外一路，她充满激情地重新创造了哈尔斯风格，而不是哈尔斯的影子…… 还有一些很有天赋的女画家。但是，正如许多女权运动者所认为的，这种变革是为满足一种职业的需要，而非由内在的力量所致。”

　　像许多现代以前的女艺术家一样，阿特米西亚师从她的画家父亲，这反映出女性被排斥在传统教育之外。奥拉蔡又雇佣艺术家阿戈斯蒂诺·塔斯提高女儿的技巧。塔斯却强奸了19岁的阿特米西亚，接着阿特米西亚经历了7个月的磨难，她所遭受的鞭苔虐待都有详细记录。尽管阿特米西亚在早期心灵遭受过创伤，她后来还是成为了一个具有高度成就的巨幅画画家，她在佛罗伦萨、罗马和那不勒斯都有可观的收入。

　　加勒德为阿特米西亚17岁时画的第一件重要作品《苏珊娜和长老》做了说明，这幅画表现了裸体苏珊娜扭动身体躲避她身后猥亵她的男子，这刻画了父权社会中青年妇女的处境，尽管此画作于她遭强暴之前。与此相仿，她借《受难与痛苦》来反映她受到的嘲弄与痛苦。对比之下，她画了这个伪圣经故事的现代版，其中有意把苏珊娜画成了忸怩的女子，甚至屈从于年长的老色鬼。

　　加勒德的女权主义论著受到诸如理查德·斯皮尔和弗朗西丝·哈斯克尔等文艺复兴与巴洛克学者的众多责难，斯皮尔在《时代文艺副刊》(1989年6月号)中辩论说，与同期的男性画家比较，真蒂莱斯奇的裸体苏珊娜“更为纵欲……用高调表现的人体，袒露出丰满的胸部”。他还断定真蒂莱斯奇注意到了男性赞助人的兴趣所在，“公开地迎合……男性的淫欲”。

　　（转载自《世界美术》文选——共享的价值pp.40-pp.53）

　　相关连接：

　　http://www.msppj.com/view.asp？id=1228

　　历史上的女画家

　　阿特米西亚：拥有凯萨般灵魂的女画家

　　http://www.zaifu.org/jm/shownews.asp？newsid=647

　　《欲海轮回》影评(九)：女人的目光

　　首先吐槽一下这他妈该死的翻译。《阿尔特米西亚》不就好了吗？还有《卡米尔》，非要翻译成罗丹的情人，作死啊。

　　-----------正题

　　这部戏是美学课上李正天教授给我们放的。这部片子说不上很好，但是也有值得借鉴的地方。

　　阿尔特米西亚*真蒂莱斯基是美术史上第一位有记载的著名的女性艺术家。作为卡拉瓦乔黑暗主义的追随者，她的作品以力量与激情著称。

　　这部片子更像是一个profile，截取了她性格、艺术风格养成的重要阶段。从她开始脱下自己的上衣描绘自己的身体开始，一直到tessi入狱，她离开罗马。

　　阿尔特米西亚从小就对人体结构感兴趣，她小小个就开始学会在黑暗中，偷偷拿着蜡烛，描绘自己的乳房。她进入到工作坊后，她一直渴望着能够见识一下男人的身体，但是“教皇下令女人不得描绘男人的裸体”，连男模特的裸体都不能看。但是这一切都不能阻止她的好奇心、与激情。

　　她叫了佛多（好像叫这个……）脱下他的衣服，给她做模特。佛多一脸尴尬与不适应，阿尔特米西亚可管不了这么多，兴奋地向他的身体摸索，看看PP与小鸡鸡，放今天就是个女流氓……

　　同时，画家内心的欲望被点燃了。她观看到一对男女在户外做爱，跑过去感受一下余温；她窥视着在tessi画室里一边做爱、美名其曰当模特的男男女女，然后马上跑回去默写出那一幕幕的激情……

　　与此形成对比的是，在那些男性画家里的女性裸体模特，赤裸裸走来走去，毫不遮掩，就像一堆货物一般：你，太瘦了，你怎么样怎么样……

　　阿尔特米西亚遇见了tessi。tessi是那种典型的“我有JB我怕谁”的男性画家，私生活真可谓乱乱乱乱。结果，他遇上了阿尔特米西亚，一个不甘心当模特、有着极高天分的女人。他一开始极度讨厌此女，与他的价值观“女人只是模特”完全不符。最后，爱欲战胜了理智。

　　他们相爱了。

　　他们的爱可不是凡夫俗子、也不是画家与模特的爱，那是两个艺术家的爱，他们相互学习，相互提升，在爱欲之海里发现自我、爆发出无穷的魔力。

　　在这段感情中，阿尔特米西亚是占据主导的。她让tessi为她做模特，她，用女性的目光来审视男性。连做爱，她也是女上位啊，tessi保持着荷诺芬尼的姿势，她站在上面，来，小子，来来伸出你的手指……

　　（说实话，电影中对这种艺术的灵魂伴侣描写不够好，更像是大叔勾搭萝莉……）

　　可惜外界不是这么看的，他们把这件事理解为男画家跟少女乱搞，或者少女诱惑男人，反正就不是两情相悦。

　　她那老爹、陪审团就是男权社会的代表，在他们的世界，女人只有两种，良家妇女、整天围着丈夫转来转去的；要不就是妓女、整天勾引男人的犯罪。这种二元划分，很明显就是物化女性，看不到女性的多元性。

　　有一处很有意思，judge向大家展示阿尔特米西亚的好几幅男性性器官的习作，他说”这不是一个艺术家的作品，而是一个女人的作品“。

　　艺术，很多时候是被肉欲所激发的，男性情欲在作品中都能找到很好的题材来表达（susanna入浴啊、萨宾妇女等等），但是女性情欲却不能找到一个很好的题材，所以它只能是私人化的，而私人化的作品当时又是个禁忌，特别是情欲的私人化作品……

　　（话说，《朱迪斯杀死荷诺芬尼》真的在这个时候画的吗？）

　　最后，他们还是分开了，在男权社会的压力之下，好端端的艺术情欲被妖魔化、庸俗化、被迫以这种结局分开。

　　最后阿尔特米西亚离开了罗马，去了佛罗伦萨，历史上她是结婚了才去佛罗伦萨的。

　　到了佛罗伦萨后，她的作品受到大众的欢迎。她的作品富含力量、明暗对比强烈（晚年她吸收了学院派的风格）、大量采用诸如苏珊娜出浴、朱迪斯等题材。饱含了对这个不公平的社会的控诉。

　　-----------------

　　电影的不足

　　电影想表达她作为一个艺术家的天赋与激情、同时她作为一个搞艺术的女性在男权社会遭遇的悲剧，但是这两者似乎兼顾不来，到后来干脆有滑向琼瑶剧的倾向。。

　　同时，导演有明显的倾向，本片是否完全符合史实不得而知。

　　from WIKI

　　In 1611, her father was working with Agostino Tassi to decorate the vaults of Casino della Rose inside the Pallavicini Rospigliosi Palace in Rome, so Orazio hired the painter to tutor his daughter privately. During this tutelage, Tassi raped Artemisia. Another man, Cosimo Quorlis had helped Tassi with the rape. After the initial rape, Artemisia continued to have sexual relations with Tassi, with the expectation that they were going to be married. However, Tassi reneged on his promise to marry Artemisia after he heard the rumour that she was having an affair with another man. Orazio pressed charges against Tassi after he learned that Artemisia and Tassi were not going to be married (nine months after the rape). Orazio also claimed that Tassi stole a painting of Judith from the Gentileschi household. The major issue of this trial was the fact that Tassi had taken Artemisia’s virginity. If Artemisia had not been a virgin before Tassi raped her, the Gentileschis would not have been able to press charges. In the ensuing seven-month trial, it was discovered that Tassi had planned to murder his wife, had enjoined in adultery with his sister-in-law and planned to steal some of Orazio’s paintings. During the trial, Artemisia was given a gynecological examination and was tortured using thumbscrews. At the end of the trial Tassi was sentenced to imprisonment for one year, although he never served the time. The trial influenced the feminist view of Artemisia Gentileschi during the late 20th century.

　　---

　　Artemisia:

　　The Rape and the Trial

　　The Trial and Its Background

　　Little is known about the circumstances under which Agostino Tassi was charged for raping Artemisia Gentileschi, but scholars believe that her father heard rumors and confronted them both. Both Cosimo Quorli (who had tried but failed to rape Artemisia, who had stolen one of her paintings, and who had helped Agostino plan visits to her house when her father was absent) were charged. The trial lasted for seven months in 1612, and received considerable publicity.

　　The tranｓｃｒｉｐｔs of the trial, included in Mary Garrard’s Artemisia Gentileschi, reveal that:

　　a) Tuzia, supposedly an older friend of Artemisia who lived in the same house as the Gentileschi’s, betrayed Artemisia by letting Agostino in to Artemisia’s house through her apartment.

　　) Agostino was a convicted rapist, who had previously served time in jail, and had been known to have raped both his sister-in-law and his previous wife. His wife was missing, presumed dead, and everyone believed that he had hired bandits to kill her. Artemisia did not know that he was married until the middle of the trial.

　　c) Agostino was obsessed with Artemisia, had prevented her from marrying Modenese, whom her father had arranged for her to marry, had spied on her and hired men to watch her around the clock, and had been known to have many jealous rages in regard to her proximity to other men. He also had bragged to many that he had deflowered her.

　　d) Since the first sexual encounter, Agostino had been continually promising Artemisia that he would marry her, and continually postponing the marriage, but using his promise as a means of convincing her to continue sexual relations with him.

　　During the trial, Artemisia was tortured with the sibille, thumbscrews, involving cords of rope tied around her hands and pulled tightly, in order to "prove" that she was telling the truth. During the torture, which of course seriously injured her hands, she was repeatedly asked whether or not Tassi had raped her, and she continually responded, "it is true, it is true."

　　Artemisia’s Testimony

　　Artemisia testified that on the pretext of looking at a painting near the bedroom, Agostino pushed her into the bedroom, threw her on the bed, covered her mouth so that she could not shout, and forcibly entered her. Resisting, she scratched his face and even threw a knife at him, slightly wounding him in the chest, but was not able to stop him. Afterwards, surprised that she was a virgin, he promised to marry her. "What I was doing with him, I did only so that, as he had dishonored me, he would marry me," she said in defense of the continuing sexual relationship which Agostino demanded.

　　Artemisia also testified that she had never been alone with any men outside her family except for Tassi, and said, "I have never had any sexual relations with any other person besides the said Agostino." After she learned he was married, she spoke directly to him, "I was hoping to have you as a husband, but now I don’t because I know that you have a wife." Whether she was hoping to marry him only to reclaim her sullied honor or because she eventually fell in love with him is unclear.

　　Agostino’s Testimony

　　Agostino Tassi’s testimony was so blatantly false and contradictory that the judge had to stop on several occasions to ask him to stop lying. First, Agostino stated, "Never have I had carnal relations nor tried to have it with the said Artemisia... I’ve never been alone in Artemisia’s house with her." He then claimed that he visited and kept watch over her house in order to safeguard her honor.

　　Over a seven months time period, Agostino claimed that Artemisia (who could not write) wrote erotic letters to many men, slept repeatedly with five different men (Pasquino, Modenese, Stiatressi et al.), and had had incest with her father who also sold her once for a loaf of bread. He referred to her, as well as her dead mother, aunts and sisters as whores who catered to a continual stream of men in the Gentileschi house. Agostino also said that he did not stop Modenese from marrying her, but that he had refused to marry her because she was a whore and her house was a bordello.

　　Witnesses

　　The primary witness in defense of Artemisia was Giovanni Stiattesi, a confidante of both Agostino and Cosimo, who claimed that Cosimo was angry at being sexually rejected by Artemisia, and helped Agostino plan his visits in accordance with her father’s absence so that he could get back at Artemisia through Agostino. Other witnesses testified in regard to the chaste reputation of Artemisia and the morals of her family.

　　However Agostino brought in a parade of six witnesses who claimed that Artemisia was a nude model for male artists and a whore, and that her father sold her to men. The testimonies of some of these witnesses was so outrageous that even the judge intervened several times and accused them of lying. Agostino’s primary witness however, was Tuzia, who claimed that Artemisia was openly seductive with Agostino and that that Agostino was obsessed with Artemisia. "He tormented me when he could not come in and talk to her," Tuzia declared.

　　The Verdict

　　Unfortunately, the last few pages and the verdict of the court tranｓｃｒｉｐｔs are missing. We can suspect, however, that Agostino Tassi was convicted, as he was held in prison for eight more months after the trial, but then released prematurely by the judge who apparently pardoned him. Her father, Orazio, also filed suit against six of Agostino’s witnesses for bearing false witness.

　　One month after the trial, to salvage her reputation, Artemisia was married to a relative of the witness, Pietros Antonio de Stiattesi, and moved to Florence; she and her husband separated a few years later.