How will the world ever know how many female artists work was attributed to men? Changing history isn’t a contemporary problem; it has gone unnoticed for centuries.
I, like you, very much appreciate the work of Artemisia and, over the decades, have been fortunate to see many of them in person, including in Holyrood Palace in Edinburgh, the recently rediscovered and renovated 'Judith and the Elders' from the Royal Collection, thought to be painted for Henrietta Maria, the wife of Charles I.
People have described Artemisia’s works, such as her 'Judiths', as her 'revenge works', overlooking her artistic talent in favour of concentrating on her gender and experience of rape, merely seeking connections to retribution in many of her paintings.
However, most of Artemisia's artworks, including 'The Birth of John the Baptist', 'The Madonna and Child', and 'The Adoration of the Magi', feature less graphic subjects that people often overlook. During her lifetime, these pieces were significant commissions that helped her establish her reputation as the most sought-after female artist of the 17th century. Yet their potential meanings and significance have been explored less thoroughly because they do not fit the revenge narrative.
Many continue to prefer searching for links to her gender and experiences of sexual assault. As Artemisia remarked on the challenges of being a woman, 'If I were a man, I can't imagine it would have turned out this way.'
In the 1980s, scholars Mary Garrard and Griselda Pollock proposed alternative interpretations of Artemisia's 'Revenge Works' to expand and illuminate her diverse artistic identity. Consider 'Judith Beheading Holofernes', a subject Caravaggio also depicted in one of his paintings.
He presents a similar composition to Artemisia's, with just as much violence and gore. However, his is regarded as a feat of artistic mastery rather than a personal expression. Pollock suggested we examine Artemisia's work as a biblical narrative of courage and collaboration between two powerful women striving to save their city, rather than linking it to her personal life.
Oomph! The depth of your comment eludes me as my art knowledge is scant. What I do catch is that narrowing Artemesia’s work to fit a gender narrative is a limiting story for her body of work, and humanity.
Yep, that's how she tends to be seen by the majority who focus on a few of her works. Not saying she was the best female painter (an impossible statement really given the diversity of female painters over the centuries - Elisabeth Louise Vigée Le Brun, Mary Cassatt, Freda Kahlo etc, etc) although she is a favourite of mine.
Thanks for connecting here Harry. I was 53 when I started painting with a grade school sleeve of watercolors. Five years later, I’m experimenting with acrylics.
It’s amazing how much a person can learn about themself in the flow of creative work.
The beauty of these posts is the acknowledgment of the culture from which the artists came and from which, it must be noted, they derived the disciplines which allowed them to express their talents. This incorporates the secular and religious life in which they were raised. The other thing which is a profound relief is that your posts do not reduce the artist to the clichèd and repetitive bleat of oppressed female not acknowledged by the mean male world and whose works were not fully recognised simply because they were female. You allow for difficulties experienced by them because of their sex (just as male artists obviously experienced difficulties for other reasons- class perhaps? Or perhaps just because art is a hard taskmaster?) Artemisia was obviously recognised during her life and this recognition of itself, plays against the narrative. The rape trial is also interesting as it shows the role of certain tortures was to elicit truthful testimony (similar to the Spanish Inquisition in which torture was limited to 15 minutes and had to be corroborated by additional testimony- unlike the Elizabethan torture which seemed to be motivated by hatred and was extremely vicious and of long duration). Your posts are well researched truthful and treat the subject matter with a gentle respect. This is very much appreciated.
Yes!!! I’m disappointed in this essay after all. Mr. Lucas inadvertently leaves Signora Gentileschi out of the Renaissance pantheon by emphasizing the works which sprang from her experience as a woman, and repeating the non-praise that she is merely the greatest female artist of all time, when clearly she is one of the greatest artists period.
Extraordinary, as usual! I have never heard of this woman. Enough said. Now, I will do my own research and read more -- whatever I can find online or elsewhere.
You wrote about Artemisia Gentileschi (definitely the greatest woman painter ... no one of THE greatest painters of all time):
"At a lecture I once attended, an art historian described (her work) as “more Caravaggio than Caravaggio himself,” and I think about it every time I see this masterpiece…
A similar figure in music is Barbara Strozzi (1619-1677), "La Veneziana," a singer and composer of 8 volumes of published music. Her male counterparts were so jealous they accused her of being a courtesan and she succeeded without papal or aristocratic patronage.
Reading the story of Artemisia Gentileschi through your words and her paintings gave me goosebumps. I believe you have a truly great artistic sensibility and know how to write in a truly effective and, above all, understandable manner. In a hasty moment, I began reading your email, thinking I'd read three lines and then put it aside for another moment when I had more time... Well, I couldn't, your writing, which shines through with your passion and admiration for art, is a real magnet! Congratulations, well done!! BRAVO !!!
Thank you for introducing me to this masterful artist so ahead of her time. Not only was she brilliant and courageous, she painted women who were the same. In an age dominated by men, she did what few woman of her time could, she left her mark!
I felt my blood boiled as I read your tantalizing article about this under-appreciated woman artist's life and work. It was also such an eye opener and educational piece about Artemesia. Thank you James, for such an enlightened read.
How will the world ever know how many female artists work was attributed to men? Changing history isn’t a contemporary problem; it has gone unnoticed for centuries.
Thank you for this vivid and wonderfully written account of a brilliant artist and her magnificent paintings. She was a true heroine in every sense.
I, like you, very much appreciate the work of Artemisia and, over the decades, have been fortunate to see many of them in person, including in Holyrood Palace in Edinburgh, the recently rediscovered and renovated 'Judith and the Elders' from the Royal Collection, thought to be painted for Henrietta Maria, the wife of Charles I.
People have described Artemisia’s works, such as her 'Judiths', as her 'revenge works', overlooking her artistic talent in favour of concentrating on her gender and experience of rape, merely seeking connections to retribution in many of her paintings.
However, most of Artemisia's artworks, including 'The Birth of John the Baptist', 'The Madonna and Child', and 'The Adoration of the Magi', feature less graphic subjects that people often overlook. During her lifetime, these pieces were significant commissions that helped her establish her reputation as the most sought-after female artist of the 17th century. Yet their potential meanings and significance have been explored less thoroughly because they do not fit the revenge narrative.
Many continue to prefer searching for links to her gender and experiences of sexual assault. As Artemisia remarked on the challenges of being a woman, 'If I were a man, I can't imagine it would have turned out this way.'
In the 1980s, scholars Mary Garrard and Griselda Pollock proposed alternative interpretations of Artemisia's 'Revenge Works' to expand and illuminate her diverse artistic identity. Consider 'Judith Beheading Holofernes', a subject Caravaggio also depicted in one of his paintings.
He presents a similar composition to Artemisia's, with just as much violence and gore. However, his is regarded as a feat of artistic mastery rather than a personal expression. Pollock suggested we examine Artemisia's work as a biblical narrative of courage and collaboration between two powerful women striving to save their city, rather than linking it to her personal life.
Oomph! The depth of your comment eludes me as my art knowledge is scant. What I do catch is that narrowing Artemesia’s work to fit a gender narrative is a limiting story for her body of work, and humanity.
Yep, that's how she tends to be seen by the majority who focus on a few of her works. Not saying she was the best female painter (an impossible statement really given the diversity of female painters over the centuries - Elisabeth Louise Vigée Le Brun, Mary Cassatt, Freda Kahlo etc, etc) although she is a favourite of mine.
Thanks for connecting here Harry. I was 53 when I started painting with a grade school sleeve of watercolors. Five years later, I’m experimenting with acrylics.
It’s amazing how much a person can learn about themself in the flow of creative work.
Indeed - every day is a learning day, irrespective of the age we might be ...
Thank you for this reframe, Harry. If only it could be applied to everything!!
The beauty of these posts is the acknowledgment of the culture from which the artists came and from which, it must be noted, they derived the disciplines which allowed them to express their talents. This incorporates the secular and religious life in which they were raised. The other thing which is a profound relief is that your posts do not reduce the artist to the clichèd and repetitive bleat of oppressed female not acknowledged by the mean male world and whose works were not fully recognised simply because they were female. You allow for difficulties experienced by them because of their sex (just as male artists obviously experienced difficulties for other reasons- class perhaps? Or perhaps just because art is a hard taskmaster?) Artemisia was obviously recognised during her life and this recognition of itself, plays against the narrative. The rape trial is also interesting as it shows the role of certain tortures was to elicit truthful testimony (similar to the Spanish Inquisition in which torture was limited to 15 minutes and had to be corroborated by additional testimony- unlike the Elizabethan torture which seemed to be motivated by hatred and was extremely vicious and of long duration). Your posts are well researched truthful and treat the subject matter with a gentle respect. This is very much appreciated.
Thank you Venite
Yes!!! I’m disappointed in this essay after all. Mr. Lucas inadvertently leaves Signora Gentileschi out of the Renaissance pantheon by emphasizing the works which sprang from her experience as a woman, and repeating the non-praise that she is merely the greatest female artist of all time, when clearly she is one of the greatest artists period.
How much beauty is missing from the world because of men's oppression of women?
Yes! And the idea of choosing to whitewash her experience in favor of other narratives…it is ongoing to this day!
Artemisia fecit, indeed! What a wonderful tribute to her James.
Extraordinary, as usual! I have never heard of this woman. Enough said. Now, I will do my own research and read more -- whatever I can find online or elsewhere.
You wrote about Artemisia Gentileschi (definitely the greatest woman painter ... no one of THE greatest painters of all time):
"At a lecture I once attended, an art historian described (her work) as “more Caravaggio than Caravaggio himself,” and I think about it every time I see this masterpiece…
A similar figure in music is Barbara Strozzi (1619-1677), "La Veneziana," a singer and composer of 8 volumes of published music. Her male counterparts were so jealous they accused her of being a courtesan and she succeeded without papal or aristocratic patronage.
I hadn’t yet seen her last work. Thank you for the gift.
Such a courageous genius.
Extraordinary! Thank you for this history and for introducing me to these paintings.
Wonderful analysis and great appreciation of a truly amazing painter! You are a national treasure of the history behind the art!!😎👍
Reading the story of Artemisia Gentileschi through your words and her paintings gave me goosebumps. I believe you have a truly great artistic sensibility and know how to write in a truly effective and, above all, understandable manner. In a hasty moment, I began reading your email, thinking I'd read three lines and then put it aside for another moment when I had more time... Well, I couldn't, your writing, which shines through with your passion and admiration for art, is a real magnet! Congratulations, well done!! BRAVO !!!
Fascinating and beautiful. Thank you for sharing this. Her work is stunning.
One of my all time most beloved painters. Thanks for covering her!
I have been so lucky to view both versions of my favorites Judith Beheading Holofernes.
Thank you for introducing me to this masterful artist so ahead of her time. Not only was she brilliant and courageous, she painted women who were the same. In an age dominated by men, she did what few woman of her time could, she left her mark!
You have added a great deal to my appreciation and Knowledge of art. I thank you!
I felt my blood boiled as I read your tantalizing article about this under-appreciated woman artist's life and work. It was also such an eye opener and educational piece about Artemesia. Thank you James, for such an enlightened read.