June - Week 1

Written 07/06/2025, 08/06/2025

Self-Portrait as the Allegory of Painting; Artemisia Gentileschi (a fair skinned woman with dark hair) is in the act of painting while being a painting style as a muse

Self-Portrait as the Allegory of Painting, 1638–39

TRIGGER WARNING: Contains references to rape, continue at your own caution.

Who am I studying?

This month, I am exploring the Baroque period and studying Artemisia Gentileschi.

Short biography

She was born in late-Renaissance (early Baroque?) Rome in 1593. She was trained by her artist father Orazio Gentileschi (and was better than her brothers, which is pretty funny). Her career started at only 15 years old, and her earliest surviving piece (Susanna and the Elders) she did when she was only 17! (I'm 28 and I WISH I could ever be that good...)

Although she painted in the Baroque era (known for grandeur) her paintings tended to be more naturalistic and her depictions of women aren't idealised. I find in a lot of her paintings, you are almost 'in the moment' with her subjects (her scenes have action to them).

I hate to bring this up, since this is something that has overshadowed her for a long time (and is even the first thing I heard about her unfortunately). When she was 18 years old, she was raped by the scumbag Agostino Tassi and HAD TO FACE A SEVEN MONTH TRIAL. She was TORTURED... yes she, the VICTIM was tortured to give her testimony. He was convicted, and got a measly 2 year sentence... THAT WAS LATER ANNULLED AND HE GOT TO WALK FREE!!!! The whole thing makes me so angry and the reason I mention this part of her life (besides the fact that it happened) is that it did impact her art going forward.

A year after this event, she was married to an artist called Pierantonio Stiattes and moved to Florence. Despite being a) married, b) marred in 'controversy', and c) a woman she managed to establish herself as a court painter (and got some powerful patrons in the Medici family and later the grand-nephew of Michaelangelo).

She had 5 children but only one lived to adulthood, a daughter called Prudentia (who was also a painter but her work seems to be lost to history sadly)

She moved around a lot (Rome, then to Naples and even England!) eventually dying in Naples in 1656 after a very successful career.

It didn't take until the 20th century and feminist history for her to be TRULY appreciated posthumously though, but I am glad she is getting more of her dues nowadays!

Why I chose her

I have two main reasons to be honest.

The first being that I wanted more pre-19th century artists (unfortunately, it's not easy to find many female artists in that category - but they are definitely there if you go looking!).

The second (and more important) reason is that I like the... anger a lot of her work depicts (a righteous anger lets be clear) and I appreciate that the women aren't conventionally beautiful (even by the standards of her time) and look more 'real'. (Something I try to aspire to in my own work!)

Examples of her work

Self-Portrait as the Allegory of Painting, which I featured above as her 'photo' is an interesing painting as she is both the muse and the artist. Muses were historically usually women, so only a female artist could really depict this ditochomy. Here are some others:

Two women pin down a man on a bed. With one hand, Judith holds his head; with the other, she slices his throat with a long sword. The intensity of the scene is highlighted by the dripping blood soaking the white bed sheets and the man's eyes wide open — conscious, but helpless.
Judith Slaying Holofernes, 1620. This is probably her most iconic painting, (this is actually her second version of it, the first being done in around 1612 - so likely her first work after the rape trial). It is definitely a cathartic image of a strong woman killing a man who threatens her (yet there is no joy at the same time, because the events leading up to it shouldn't have ever happened)
After the behenading of Holofernes, the maidservant Abra is wrapping the severed head in a bag, while Judith keeps watch holding a sword.
Judith and Her Maidservant, 1623-1625. This is almost a 'sequel' painting to the beheading, showing the tense atmosphere in the aftermath of Holofernes being killed and also a quiet female solidarity (the type Artmesisa didn't get in real life - regarding her rape)
An oil painting of a woman with chesnut coloured hair, wearing a white headscarf and a blue dress is holding a lute, she looks rather bored
Self-Portrait as a Lute Player, 1615. This is an earlier self-portrait (not as meta) though she is still showing off a skill she may have had (the lute is drawn very accurately so it's possible she could play it). I like her almost bored looking expression, like she has better places to be right now!
A man, Sisera, is sleeping on a woman's lap. The woman, Jael, is holding a peg to the man's head and she is about to strike her mallet into it
Jael and Sisera, 1620. Her less famous (but still brilliant) depiction of a woman killing a man. Less gruesome than her other one (thankfully) it is almost unnervingly calm (maybe she had come to peace with what happened to her?)
Two older men leer over a young woman (who is mostly naked as she is bathing) who is very uncomfortable and trying to fend them off
Susanna and the Elders, 1610. She did this when she was 17!!! Yeah, as a woman I hate how relatable this 400 year old painting is :/ The way Susanna twists herself to avoid the creepy men, just really hits home how women and girls have to contort themselves around creepy men to try to stay safe. And this was done BEFORE she was raped, but obviously living in the times she did she was likely aware of what men could be like :(
A naked woman, Venus, is lying on a bed adorned with blue sheets being attended to by her son Cupid, red curtains surrond the bed and there is a landcape painting in the background
Venus and Cupid (Sleeping Venus), 1626. Rather more 'ornate' than her other works that I've featured. This was a commission (I mean most of her work was, but clearly she was able to adapt to what her client wanted). I like that although the object of desire, Venus is so totally satisfied and has no modesty of shame (and why should she?)

Links to more info about her