The Influence of Artemisia Gentileschi’s Self-Portraits

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.