Introduction
In the patriarchal society of the 17th century, art like many other fields was dominated by men. History does not present many examples of female artists, but in 1970, an Italian woman by the name of Artemisia Gentileschi was recognized as a progressive figure in the artistic movement of her time. It is claimed that she is “the first woman in the history of western art to make a significant and undeniably important contribution to the art of her time” (Buckley, 2013, p. 832). Following Caravaggio’s naturalism style, she was able to formulate and expand her creative perspective. Artemisia Gentileschi served as an early feminist influencer by breaking the glass ceiling of societal norms and promoting the ideological movement through her artistic work.
Historical Background
One of the most prominent known events about Gentileschi’s life is her experiencing an act of rape at a relatively youthful age and a later trial that followed, initiated by her father. Scholars studying Artemisia Gentileschi emphasize this as a critical influencing factor for her ideological views which reflected on her artistic work. She is viewed as a feminist seeking to resist male oppression and societal pressures. However, that does not necessarily define her personal history. Evidence shows that Gentileschi married the rapist to preserve her reputation and, in many ways, became a typical woman for her time. However, the rape did not become a defining moment of her life and artistic work as many choose to examine this incident from a modern perspective on gender relations.
The painter lived and thrived in a society that limited women in every aspect of existence, especially engaging in a profession dominated by males. While the rape probably played a role in her psychological state, her ambitions and achievements that are proto-feminist were defined by a much broader perspective on reality (Cohen, 2000). The painter’s biography presents a retrospective on her inspirations and experiences which stimulated her development as a feminism conscious artist. Overall, Gentileschi’s life presented her with an opportunity to mature and understand the intricacies of gender interactions that is evident in her work.
An important facet of the artist’s biography is that her father, Orazio Gentileschi, was a friend and a follower of Caravaggio (Poggioli, 2016). Caravaggio is known for his unique technique called chiaroscuro or light and darkness, which specifically focused on making paintings realistic and contrasting, Poggioli (2016) points out. A similar technique is used by Gentileschi in her paintings, where physical and emotional suffering and protest manifest through colors. A good example of such technique is seen in Gentileschi’s first work, Susanna and the Elders, which is considered to be a piece of art that was able to break taboos that existed during that time (see Figure 1):
While Gentileschi was indeed an innovator, the curator of one of her exhibits argues that the dreadful event that happened to her, the rape, seriously overshadows her art in the eyes of art historians (Poggioli, 2016). According to the curator, our understanding of that event and its influence on the artist’s life skewed our general perception of her paintings. Nevertheless, it would be incorrect to assume that the rape did not affect the artist in any way. To understand Gentileschi’s genius, it is vital to review her art from different perspectives.
Feminist Perspective
Gentileschi’s drastic experience of rape is considered to be reflective in some of her art. Susanna and the Elders, one of her most famous paintings based on the biblical story shows a young woman being harassed by men. Scholars believe them to be representative of the rapist and her father who seemingly accepted this turn of events since she was forced to marry to save her reputation (Buckley, 2013). While some of the art may have been symbolic of Gentileschi’s traumatic experience, it was in many ways progressive in its subject matter.
Women were portrayed to be defiant, independent, and equally strong to men which were incomprehensible at the time. In the painting Judith Slaying Holofernes, a female is depicted as physically overpowering a man. This comparison and the image of a woman in the act of violence was far outside the traditional scope of art in the 17th century (Poggioli, 2016). While the concept of feminism was not known to exist at the time, the paintings showed that females were experiencing and were willing to challenge oppressive and violating societal norms. Gentileschi used a style of painting and a uniquely defiant approach to seemingly traditional scenes (Biblical) that highlighted the unjust nature of the treatment of women. Gentileschi has cemented her place as an early feminist through her art but also the ability to form an artistic career despite the social taboos of the Counter-Reformation that sought to limit female expression.
Painting as Allegory
Gentileschi’s view of the art was progressive not only in its feminist perspective but also in her understanding of female characters in the Bible. For example, while Caravaggio (among other artists) depicted Judith as a servant who collected the head of the murdered man, Gentileschi translated a more powerful (and, in a way, unexpected) idea through her art: Judith is one of the killers, who does not stand nearby passively but takes part in the action (Jones, 2016). Gentileschi’s view of a character (most of the time, a strong woman) does not relate only to women from the Bible or other books or myths. She depicted herself in a similar manner, a woman who is active, strong, and unstoppable in her self-expression. One of her self-portraits is titled Self-Portrait as the Allegory of Painting, where the author is depicted standing in front of a canvas, holding a brush. While there may be various self-portraits made by other artists similar to that one, Jones (2016) correctly notices that “she depicts herself as a muscular, dynamic, forceful character, like the women who hold down Holofernes… [She] is armed with a brush” (para. 10).
Of course, this painting could be perceived as a feminist approach to the depiction of female artists (and it is). At the same time, the painting is also an exciting allegory that male artists could not create even if they wanted to. In Iconologia, a book written by Cesare Ripa, Painting is described as “a beautiful woman, with full black hair, disheveled, and twisted in various ways, with arched eyebrows that show imaginative thought…” (Royal Collection Trust, 2018). Gentileschi used this description as a basis for her self-portrait, although she deliberately left out some of the details, such as the gagged mouth of the Painting (symbolizing that it is dumb) and the mask with the inscription “imitation” (Royal Collection Trust, 2018). At the same time, it is also a self-portrait, which illustrates the artist at work, where Artemisia is seen as the human personification of Painting. Thus, two visual traditions are merged by the artist in this painting.
Caravaggio’s Influence
The influence of Caravaggio is seen both in Artemisia’s and her father’s paintings. It is assumed that Artemisia’s knowledge of his work was limited at first, as she mostly encountered unique qualities of his art through her father’s works (Christiansen & Mann, 2001). During her life in Naples, Artemisia also communicated with various representatives of a Caravaggesque group. As Christiansen and Mann (2001) point out, specific accuracy was used by Artemisia in her depiction of weaponry, but, at the same time, she did not use it for the sake of realism. Artemisia uses details to make the narrative or the story illustrated in the piece of an art deeper or more dramatic, unlike her father, who does not pay that much attention to the narrative.
Although the influence of Caravaggio is evident in some of Artemisia’s work, she has a drastically different approach to the understanding of Judith. In Caravaggio’s painting, her pose and her involvement in the action seem to be unrealistic, as if she did not murder Holofernes in reality (Christiansen & Mann, 2001). Artemisia’s implicit dialogue with this painting shows that she does not agree with Judith’s figure depicted as a passive observer; instead, Judith’s direct involvement in the action results in more blood, less grace, and, surprisingly, more realism. The servant in Artemisia’s painting is also illustrated as a partner rather than as a contrasting figure in Caravaggio’s work. Caravaggio’s Judith is perceived almost relaxed, detached from the dreadful event, while the tension in Artemisia’s Judith is directly translated to the readers. It is possible to conclude that while Artemisia had undoubtedly been under the influence of Caravaggio’s work for a period, her interest in the narrative and the drama of it outweighed and changed her striving for realism.
Inspiration and Legacy
The paintings of Artemisia Gentileschi have been regarded to have a level of brilliance by intertwining gender constructs with artistic identity and social commentary that is critical of the historical realities at the time, particularly in the artistic field. Since the 1970’s her work has served as a symbol and influence for aspiring female artists, leading to whole galleries and expositions named in her honor. The depiction of female heroines in Gentileschi’s painting on seemingly equal grounds as men or engaged in violent acts is meant to symbolize the breakthrough of societal norms and resistance to subjugation that women experience in the field of art or other professions.
Many locations, such as Chicago, where an art collective opened carrying Gentileschi’s name, served as cornerstones for collective change that allowed women to prosper outside traditional social roles (Gardner-Huggett, 2012). This premise is based on the concept that historically, strong and ‘worthy’ women who have resisted societal bonds and misogyny were at one point inspired by other women that came before. The inspiration to the feminist movement that Gentileschi’s life serves is that her achievements are a foundation on which other women could build their contributions in the arts (Jaffe, 1993). Through this, there is a sense of unity and progress as women can create a more gender-equitable society based on the sacrifices of feminists going back for centuries that paved the way forward.
The figure of Artemisia Gentileschi as a feminist painter in the patriarchal era of the 17th century has become idolized in many artistic circles. While her achievements are significant, and the subject of her paintings is progressive for the time, the common intention has become focused on creating an aura of feminism ideology around the artist. The most prominent concern is that historical evidence is being expanded and interpreted in a manner that is not necessarily accurate (Scarparo, 2002). The reconstruction of Gentileschi’s life and beliefs are based on the sole premise of her existing on a pedestal of inspiration. In the 1970s and to this day, the feminist movement requires such idol figures as both a matter of emotional inspiration and logical argument to the oppressive history of male patriarchy. As cultural knowledge is blended with fantasy through novels and film, Gentileschi’s art begins to serve as a political utility for “historicizing contemporary arguments on gender and authorship” (Vidal, 2007, p. 70).
Conclusion
Overall, Artemisia Gentileschi’s heritage is considered to be critically important for feminists and artists alike. Despite an unclear perspective between historical context and the image of idolization that has been created around her life, she serves as an important artistic figure of her time. Due to the discovery of her art in the latter half of the 20th century, her legacy is not forgotten. Scholars agree that Gentileschi played a progressive role as a talented female artist in a patriarchal society that provided few opportunities for women. Her ability to break the glass ceiling has served a critical role in history but also created a precedent for the empowerment of feminism in the arts.
References
Buckley, P. (2013). Artemisia Gentileschi, 1593–1653. American Journal of Psychiatry, 170(8), 832-833.
Christiansen, K., & Mann, J. W. (2001). Orazio and Artemisia Gentileschi. New York, NY: Metropolitan Museum of Art.
Cohen, E. S. (2000). The trials of Artemisia Gentileschi: A rape as history. The Sixteenth Century Journal, 31(1), 47-75. Web.
Gardner-Huggett, J. (2012). Artemisia challenges the elders: How a women artists’ cooperative created a community for feminism and art made by women. Frontiers: A Journal of Women Studies, 33(2), 55-75.
Jaffe, J. A. (1993). Sor Juana, Artemisia Gentileschi, and Lucretia: Worthy women portray worthy women. Romance Quarterly, 40(3), 141-155.
Jones, J. (2016). More savage than Caravaggio: The woman who took revenge in oil.
Poggioli, S. (2016). Long seen as victim, 17th century Italian painter emerges as feminist icon.
Royal Collection Trust. (2018). Self-portrait as the allegory of painting (La Pittura).
Scarparo, S. (2002). “Artemisia”: The invention of a ‘real’ woman. Italica, 79(3), 363-378.
Vidal, B. (2007). Feminist historiographies and the woman artist’s biopic: The case of Artemisia. Screen, 48(1), 69-90.