Introduction to Artemisia Gentileschi’s heritage
- a famous Italian artist of the Baroque period
- numerous debates over her works
- considered a talented and professional artist
- often treated as a mediocre painter
- self-portraits as a significant part of her artistic heritage
- self-portraits popular among feminist supporters
- impact of self-portraits on the feminist movement
Life of Artemisia Gentileschi
- Born in Rome in 1593
- Lost mother at a very young age
- Impact of mother’s death on her life
- Brought up by the father-painter
- Raped as a teenager, my father’s colleague
- a first female member of Accademia di Arte del Disegno (Florence)
Style of Artemisia Gentileschi’s artworks
- influenced by the style of Caravaggio
- portraits characterized with the naturalism of figures
- typically dramatic scenes
- prevalent application of chiaroscuro technique
- no specific art education
- impact of the rape trauma (Dačić, 2015).
Evaluation of Artemisia’s early works, Florentine period
- Evident evolution of the art of painting
- Self-portraits of high-level skill
- Revolutionary perceptions formed by the social environment
- Representations of revolutionary perceptions in paintings
- Concentration on women’s inner strength
- of her early works: Judith and Her Maidservant (Endres, 2013).
Themes and plots in works of Artemisia Gentileschi
- Frequent use of biblical subjects
- the theme of a strong and confident woman
- Heroic and strong female characters
- Paintings driven by artist’s memory
- Representation of a female protagonist
- Implementation of vision of women in self-portraits
Self-portraits as representations of an artist
- Few self-portraits remained safe
- The popular image of a female artist
- Woman with Lute, Female Martyr – examples of self-perception
- Protest against male domination in art
Self-Portrait as the Allegory of Painting is – depiction of Artemisia
- The theme of the invisible painting
- Natural, restrained manner of the depiction of herself
- Emphasis on the creation of a piece of art
- Demonstration of a protest against gender stereotype
- Creation of revolutionary canvas depicting female artists
- The challenge to a public familiar with male artists
Woman with Lute and Female Martyr
- Depiction of a female artist – musician
- Attention to the confidence of a musician
- Demonstration of the experience of the artist
- Appeal to women’s sacrificial mature
- Representation of traditional feminine features
- Bright colors, soft shades, and natural curves
Venetian period of artistic work
- The significant impact of Caravaggio’s heritage
- Influence of a classic manner typical of the 17th century
- Less intensive artistic work
- Works: The Sleeping Venus, Esther, and Ahasuerus
Naples period of artistic life
- It covers the second part of Gentileschi’s career
- More grace and self-consciousness in works
- The impact of the artist’s recognition
- Absence of need for competition with male colleagues
- Period of maturation and important works
- Works: Virgin and Child with a Rosary, Susanna and the elders (Dačić, 2015).
Role of Artemisia Gentileschi in the feminist movement
- Establishment of women’s liberation movement
- Success as an artist significant for feminism
- Feminist interpretation of her self-portraits
- Protest against traditional male dominance in art
- The image of a rebellious woman
- Depiction of a female able to overcome obstacles (Conn, 2015)
Conclusions
- Prominent impact on the contemporary feminist community
- Significance of self-portraits
- Innovative approaches and ideas
- Impact on the history of art
- Ideas continued by supporters and followers.
References
Conn, Virginia L. (2015). The personal is the political: Artemisia Gentileschi’s revolutionary Self-Portrait as the Allegory of Painting. Kaleidoscope, 8(1), 6.
Dačić, A. (2015). Artemisia Gentileschi – From facts and fiction to feminist inspiration. Web.
Endres, A. L. (2013). Painting Lucretia: Fear and desire a feminist discourse on representations by Artemisia Gentileschi and Tintoretto (Unpublished doctoral dissertation). The University of Wisconsin-Milwaukee.