In the annals of art history, few names evoke as much intrigue and admiration as Artemisia Gentileschi. A remarkable 17th-century Italian painter, Gentileschi's life story is as captivating as her masterful canvases. Born into a world dominated by male artists, she defied convention and gained notoriety for her masterful paintings.

I briefly mentioned Artemisia Gentileschi in last weeks post, presenting her as one of the prominent artists of the Baroque period. Today we uncover more behind this incredible artist.

Reader Warning: Mention of assault.

Early Life

Artemisia Gentileschi, born in Rome on July 8, 1593 (though records suggest 1590), was the daughter of Prudenzia di Ottaviano Montoni and Tuscan painter Orazio Gentileschi. Orazio, inspired by Caravaggio's innovations, reached his expressive peak in Rome, adopting realism in his works. Following her mother's death in 1605, Artemisia was primarily raised by her father and displayed remarkable talent in painting compared to her brothers.

Baptized at San Lorenzo in Lucina church, Artemisia's introduction to art happened in her father's workshop, where she quickly mastered drawing, color mixing, and painting. By 1612, at just 18 years old, her exceptional skills had gained recognition, with her father proudly praising her unparalleled talent despite only three years of practice.

While influenced by her father's Caravaggio-inspired style, Artemisia adopted a highly naturalistic approach distinct from his idealized works. She overcame societal attitudes that attempted to suppress her talent, earning respect and recognition for her exceptional work. Her earliest surviving piece, "Susanna and the Elders" (1610), exemplifies how she blended Caravaggio's realism with Annibale Carracci's classicism and the Baroque style of the Bolognese School.

Betrayal and Tragedy

In 1611, Orazio Gentileschi collaborated with Agostino Tassi on the decoration of Casino delle Muse within the Palazzo Pallavicini-Rospigliosi in Rome. Tragically, during a visit to the Gentileschi household, Tassi assaulted Artemisia while she was alone, aided by Cosimo Quorli, as their mutual friend Tuzia stood by and did nothing. Despite this ordeal, Artemisia entered into a relationship with Tassi, with the expectation of marriage to restore her honor. However, Tassi reneged on his promise, prompting Orazio to press charges against him when he learned they wouldn't marry.

During the trial, it was revealed that Tassi planned to murder his wife, engaged in adultery, and intended to steal Orazio's paintings. Tassi was exiled from Rome, yet the sentence was never carried out. Throughout the proceedings, Artemisia endured torture with thumbscrews to validate her testimony.

Surrounded primarily by males after her mother's passing, Artemisia formed a friendship with Tuzia, who facilitated the presence of Tassi and Quorli in Artemisia's home, even during the tragic incident. Despite Artemisia's cry for help during the assault, Tuzia chose to ignore her, compounding the betrayal.

Adversity into Art

One of her most famous works, "Judith Slaying Holofernes," speaks volumes about Artemisia's ability to transform her anguish into art. In this masterpiece, Judith, a biblical heroine, is depicted in the act of decapitating Holofernes, an Assyrian general who represents her attacker.

The evident parallel between Judith and Artemisia's stories rests in their common victimhood to male desire and dominance, their lives deeply shaped by encounters with sexual wrongdoing. Artemisia's painting stands as a forceful expression of her reaction to Tassi's misconduct, a manifestation of female empowerment and independence. The violence of the scene is palpable, yet it also captures the raw power of a woman reclaiming her agency. By astutely embracing a Biblical tale, she guaranteed the resonance of her message and its public display. Without directly alluding to the female body or sexuality, she firmly declares their ownership as inherent to the individual. A truly remarkable work of art.

Re-Telling Heroines

Artemisia Gentileschi skillfully harnessed the narratives of biblical heroines as a means to vividly portray the profound strength and empowerment inherent in women.

Comparing the paintings depicting the story of Susanna and the Elders by Artemisia Gentileschi and that of Tintoretto's we can see how skillful Artemisia empowers Susanna. The narrative of the painting originates from the biblical Book of Daniel, portraying a virtuous woman confronted by two older men driven by lust. They catch her off guard while she is bathing, coercing her to yield to their inappropriate advances under the threat of public accusation.

Left: Artemisia Gentileschi, Susanna and the Elders, c. 1610. oil on canvas, Schloss Weißenstein, Pommersfelden. Right: Tintoretto, Susanna and the Elders, c. 1550–1560, Louvre.

In Tintoretto’s painting, Susanna remains unaware of the predatory gazes and imminent threat, Artemisia's portrayal depicts a young and innocent woman adamantly resisting their advances. She contorts her body away from the men, a look of revulsion on her face, and shields herself with a raised hand.

Artemisia's portrayal of Susanna has sometimes been misconstrued as a channel solely for expressing her personal experience of victimization. However, this painting predates her tragic encounter with Tassi. Instead, it can be interpreted as a reflection of her belief in empowering women and highlighting their equality to men. It's important to consider that her artworks often conveyed strong and empowered depictions of women, which aligns with the broader context of her artistic themes.

Rediscovery After Death

After Artemisia's passing, her artistic legacy slipped into obscurity, often receiving minimal recognition and even facing mistaken attributions to other artists. Her initial rendition of "Judith and Holofernes" from 1612 was frequently misattributed to Caravaggio, while "Susanna and the Elders" was mistakenly linked to her father. However, the 20th century witnessed a resurgence, marking the renewed appreciation and admiration for this exceptional Baroque artist.

But what ignited this revival?

In the previous sections, I've delved into Artemisia's biography and impactful artworks, undoubtedly contributing to the renewed interest in her creations. Yet, could Artemisia's work have languished in obscurity if not for the rediscovery catalyzed by a group of feminist art historians in the 1970s? Throughout history, numerous talented women faced underappreciation in their lifetimes, with some fading into anonymity.

While I greatly admire Artemisia for her resilience and artistic prowess, it's important to ponder whether her tragic narrative has garnered her more recognition than her talent alone. Without her adversity, would Artemisia still have the recognition she does today, or might she have been consigned to obscurity? Would this have been her chosen legacy?

Artemisia Gentileschi's legacy, encompassing both her artistic achievements and her defiance of societal norms, has left an indelible mark on ongoing dialogues about feminism and the pivotal role of women within the realm of art.

I would love to here your opinion and responses to this post, especially the questions I posed towards the end. It is a discussion surrounded by sensitive topics but that I believe are important conservations to be had.

See you all next week.