Early Christianity emphasized chastity and celibacy and stayed away from depictions of nudity and sexuality, unlike the early Greek, Roman, and later artists of the Renaissance period. Christians considered the art of the nude as the prime exponent of sin. Looking at the Madonna and Child enthroned and the angels, Mary, Lady Guildford and Danae you will see the transformation of how sexuality changed and became more accepted from the late 13th century to the 16th century. Nude art did not fully return until the medieval period (around the 16th century) when the rediscovery of Greek and Roman culture was reinstated. “It appears that nude figures based on ancient models began to reappear in Italy as early as the mid-13th century, and by the mid-15th century nudes had become symbols of antiquity and its reincarnation.” (http://www.metmuseum.org/toah/hd/numr/hd_numr.htm) Nude paintings and statues began first as biblical heroes, then unimportant nude figures in vigorous poses to suggest the range of human action , and finally generation introduced nudes into religious paintings including both men and women. Even in the Renaissance, inspiration from the female nude came back into vogue. Sculptors and painters began to create women in more realistic ways and to highlight the seductive warmth of the female body, rather than creating an unrealistic ideal female figure used by the Greeks. During the 14th century women were very conservative and they had to be because they were strictly controlled and so was everything they did and even the way they dressed. Madonna and Child Enthroned with Angels was created in 1390 by Spinello and is an excellent example. The Madonna and Child Enthroned was painted based on a much earlier period...... middle of sheet ......ence. Shortly thereafter they moved to Florence and had four sons and a daughter. In Florence Artemisia had enormous success and was the first woman to be admitted to the Academy of Drawing. She also became good friends with the most respected artists of her time and managed to maintain good relationships with them throughout her life. Despite Artemisia's success, the Florentine period was full of problems with her and her husband, and these problems then led her to return to Rome in 1621. The road of life is full of countless twists and turns, and Artemisia's entire life Gentileschi shows exactly this. Artemisia's life was a great struggle, but battered and wounded she made it and, as a result of her life of pain, created an eternity's worth of art. Today she is considered one of the most progressive and expressionist painters of her generation