Artemisia Gentileschi - Italian Baroque from his female side

It is not very flattering what the pictures of Artemisia Gentileschis from the Italian Society of Baroque show. The artist, who is the only Italian baroque painter, is historical and biblical scenes on her paintings.

But it is well known from her life to allow an autobiographical interpretation: Artemisia Genttileschi - also known as Artemisia Lomi - presented strong women and heroines in particular.

There is, for example, the painting "Judith beheaded Holofernes" : With a cool, almost disgusted facial expression, Judith leans to the side, while she pulls the knife through the neck of the holofer outstretched on the bed, assisted by a servant. There is no pity, no doubt whether the act to see. The figures are plastic and very realistic, the pathos common baroque

Video contribution: Great art explains - Judith beheaded Holofernes

Strong women who do what needs to be done - that is the topic of painting by Artemisia Genttileschi. It is obvious that her characters met the taste of time: she not only lived from her painting, but also raised her daughter, who she trained together with male artists in her own workshop.

Who was Artemisia Gentileschi?

Artemisia Gentileschi was an outstanding painter of the baroque painting style . As the daughter of the Roman artist Orazio Genttileschi, the light of day saw in Rome. She showed her impressive talent with multi -figure historical paintings in cities such as Rome, Venice, Florence, Naples and London.

Artemisia Gentileschi stood out in the art events of the Baroque . Compared to painters of the Renaissance such as Sofonisba Anguissola from Cremona and Lavinia Fontana from Bologna, who were known for portraits and religious paintings, Artemisia Genttileschi was the first to develop an excellent reputation as a creative compositions with mythological and biblical topics.

In the baroque art world, the historical painting was the highlight of painting art. The works of Artemisia Genttileschi often address acts of violence with female main characters , which may be explained with their biography - whether this is interpreted correctly or incorrectly is often the subject of discussions.

Talent and traumatic experiences

According to the birth certificate, born in Rome in July 1593, Artemisia Genttileschi Lomi the daughter of the famous Roman painter and Caravaggio supporter Orazio Genttileschi and his wife Prudenzia di Ottaviano Montoni. The mother died when Artemisia only turned twelve.

Two of her brothers, both of whom had the name Giovanni Battista, died in 1601 and 1603. Until 1607, Artemisia was apparently the only woman in her father's household before her widowed sister Lucrezia came to them for a while. Because of these circumstances, Artemisia probably received little or no training at all, which was common for women of their time, especially for women from similar social classes.

It must have been difficult for Artemisia to grow up. Her father was very dominant and followed the code of conduct of the early 17th century, which prescribed an authoritarian appearance. In order to prove their virtue, Artemisia was rarely allowed to leave the house and always had to be accompanied on excursions.

Artistic training

Her father trained her in his workshop from 1608 or 1609, just like her brothers who were still alive.

However, Orazio was not a teacher at a university. Artemisia had no opportunity to reproduce works of art that were accessible to others in public and in the churches of Rome. Her training was probably limited to grinding pigments, touching colors and learning the basics of painting by imitation of her father's works.

Artemisia may also have studied copper engravings from other artists.

Orazio Genttileschi recognized the special talent of his daughter Artemisia early on and started her training when she was about 13 or 14 years old. At the age of 16 she painted independently and showed an incomparable talent. In a letter from 1612, Orazio praised Artemisia's skills towards Christina von Lorraine.

Her first signed painting “Susannah and the old” from 1610 (see below) confirms her extraordinary ability because it is full of maturity and subtlety, even though she was only 17 years old. Artemisia Gentileschi developed into an impressive artist who created great works at a young age.

Video contribution: Who was Artemisia Genttileschi and how does it represent in this rare self -portrait?

Italian baroque is primarily Caravaggio - and this is also the case in the Gentileschi workshop. Orazio Gentileschi was not only influenced by the style of the great painter, but was friends with him. You can see that from the daughter's paintings. But the Italian baroque painter developed a very naturalistic style that deviates from her father's more idealized representations.

The first known historical painting by Artemisia Genttileschi created the Italian baroque painter at the age of 17, she dated and signed it too. Today is the painting " Susanna and the oldest" in Pommersfelden. Your presentation leaves no doubt about the sexual assault by the judges.

rape

In 1611, Orazio Gentileschi Agostino Tassi (about 1580 to 1644) brought into his workshop. The two painters worked together on the fresco of the ceiling of the Casino Delle Muse in the Palazzo Pallavicini Rospigliosi in Rome. Tassi should also teach Artemisia, he was known for his impressive landscape pictures. The proud father Orazio Gentileschi had recognized his daughter's talent and wanted the painter's colleague to help her develop perspective.

However, the raped Artemisia in May 1611 in the father's house. Since the father later brought the deed to the fact, we know the ugly details.

From the process files from 1612, statement artemisia gentilechis:

When we were at the door, he pushed me into the room and closed behind us. He threw me onto the bed with one stroke on his chest, then he drove his knee between my thighs and stuffed my mouth with a handkerchief so that I couldn't scream. Now he pushed the skirts up to me, which caused him effort, drove the second knee between my legs and put his limb into my shame. Then he let go of my hand and started to push. When I put it in, I felt a strong burning and pain. I made resistance, but I could not call for help because he was still able to hold my mouth. I scratched his face, tore out his hair and put his limb off his limb before he put it in, so that a piece of meat went off. But he did not let himself be put off and continued with his hustle and bustle. He only got down from me when he had done his cause. When I was free, I ran to the table drawer, took out a knife, fell on Agostino and screamed: 'I want to kill you with this knife because you desecrated me! "

Agostino Tassi was not an unaltered man. From murder to the blood shame, the actions known at the time ranged. Artemisia Gentileschi learned what it means to be a woman: she was lied to by Tassi with a marriage promise, had to endure gynecological studies in court and said under torture.

Tassi stubbornly denied the offense throughout the legal proceedings. He accused Artemisia of lies and countered all accusations with brazen counterattacks. He had a new invented story ready for every survey. Although his criminal record murder, robbery and blood shame included, Tassi was not tortured - the judges still believed him.

In October 1612, the process ended after eight months without any significant results. Tassi came free and continued his career seamlessly, Orazio, Artemisia's father, also resumed the old friendship to him.

For Artemisia, on the other hand, it looked different: she had to pay repeatedly in her life for her frausin. The nationally known scandal had to be calmed down and their public reputation was restored.

In order to secure his daughter despite the shame suffered, father Artemisia married to an artist from Florence. With her new husband Pietro Antonio Stiatesi, she moved to Florence in the same year - from whom she soon separated.

Artemisia remained married to Stiatesi, but had a longer affair tolerated by the husband and traveled through Europe without her husband. Of the two sons and three daughters from this marriage, only Prudenzia Stiatesi reached adulthood.

Intermediate station Florence: recognition as an artist

Italian baroque not only takes place in Rome: Florence also had his artists and patrons. Artemisia Gentileschi was able to implement a painting in the Cassa Buonarroti in 1613, she developed into Medici in Florence. And in Charles I of England she had found another patron.

In Florence, the painter already gained recognition among collectors and intellectuals. With Michelangelo Buonarroti, the younger, a writer, and with Christofano Allori. The Accademia delle Arti del Disegno was the first woman to record it on July 19, 1615.

Through Michelangelo Buonarroti, Artemisia got to know the most important personalities at the Medici court in Florence. He was not only her friend and patron, but also a financial support for her and her husband. Together with him, she painted her only documented work, the "allegory of inclination" , for the Casa Buonarroti.

It is believed that their connection has existed for a long time, since Buonarroti was even intended as a godfather for her daughter. Through him, Artemisia gave access to a circle of intellectuals, writers, artists and musicians, which significantly influenced their artistic work and reputation in Florence.

From August 1615, Artemisia Gentileschi was busy with the Casa Buonarotti ceiling painting Agostino Ciampelli, Sigismondo Coccapani, Giovan Battista Guidoni and Zanobi Rosi The work is the only thing that is documented for your Florentine time. In the representation of the naked allegory, art history recognizes an idealized self -portrait of the artist.

During this time she also received orders from Cosimo II de Medici , the Grand Duke of Tuscany and Christina von Lorraine. We know a letter that she wrote to Galileo Galilei - she probably also got to know him in Florence.

Further training in the Florentine phase

The Medici farm was important for Artemisia Genttileschi, because here it was not only employed and supported economically, but was also able to continue their education. She joined the Florentine art and took Christina von Lorraine as a model. The artist learned to read and write, continued in literature and music.

Unfortunately, most of the works from the Florentine phase are lost. Today we know that she worked for Maria Maddalena d'austria that she made works for Caterina de Medici. Cosimo II de Medici commissioned her a version of "Judith beheaded Holofernes" , as well as a "Diana in the bath" . A "Hercules" is said to have been there. We know the latter because Artemisia Gentileschi had the Hercules ultramarine delivered, but never paid the bill.

Mother of 5 children despite artistic success

It is really admirable how Artemisia managed to work so hard -working despite her pregnancies. In just five years she received five children - Giovanni Battista, Agnola, Cristofano, Prudenzia (also known as Palmira) and Lisabella.

Only two of their children lived long enough to accompany them to Rome. Despite the growing family, Pierantonio was not able to meet all the needs of Artemisia and so the painter began an affair with Francesco Maria Maringhi. This was a respected administrator in the service of Matteo Frescobaldi, the landlord of a property in Florence to Artemisia.

Artemisia's life story shows us your strength and determination to continue to be successful despite all the adversities of your personal life.

Heavy stand in Rome

As early as March 1620, the Gettileschi and Stiatesi couple were back in Rome. The Italian baroque painter had the Pozzo with the humanist and art lover Cassiano, was friends Pierre Dumon, II.

Italian baroque of the 1620s meant large-format altarpieces . But that is exactly what Artemisia Gentileschi received. She was the painter of the portraits and biblical heroines and used the following six years in Rome for a reorientation. The Spanish ambassador Fernando Afán de Ribera bought a "Magdalena" from her, furthermore he acquired a "David" and a "Christ blesses the children".

Cassiano da Puzo was even more important for the Italian baroque painter . He was the secretary of Cardinal Francesco Barberini and announced Artemisia Gentileschi with the artists who were friends. Simon Vouet, Nicolas Poussin and also Giovanna Garzoni were included. Vouet made a portrait of Artemisia Genttileschi that shows these relationships.

Artemisia was introduced in Francophone circles in Rome in the 1620s, probably by Simon Vouet. Vouet and Cassiano Dal Pozzo both played an important role in their lives. VoUet became president of the Accademia di San Luca and painted paintings, the Artemisia admired. Dal Pozzo, a papal secretary and nephew of a cardinal, owned portraits from Artemisia and commissioned them with a self -portrait.

They also stayed in contact after Artemisia's move to Naples. In the 1630s she wrote to him with great affection and asked for support for her daughter.

Three years in Venice

The next stop by Artemisia Genttileschi was Venice . The baroque painter left Rome in 1626 or 1627. In Venice she spent the next three years. For example, we know a leaflet from 1627, the verses of which are devoted to three of its paintings.

Her presence is documented in the letters of Antonino Collurafi, which were published.

Artemisia Gentileschi was paid in 1628 by the Count of Oñate on behalf of the Spanish king for a painting that was to flank the “Hercules and Omphale” . This prestigious mission was her first of the Spanish king and raised her the circle of the most important painters in Europe. This may mean that she moved to Naples because the city was under Spanish rule and offered better economic opportunities.

The assessment of Artemisia's artistic development in Venice is a challenge, since it must be derived from a single painting from 1626 to 1630: "Esther before Ahasver" (1628–1630, The Metropolitan Museum of Art, New York).

In this work, the biblical history of the brave Esther, which proves its courage to save the Jewish people. Artemisia succeeds masterfully to capture the tension and meaning of this scene. The careful composition of the characters and the subtle treatment of light and shadow testify to her skills as a painter.

Escape in front of the plague: Naples

We don't know exactly when the artist arrived in Naples. However, she has already been introduced in the city in the summer of 1630 and may have spent the rest of her life in Naples if we are foreseen from a short stay in London.

In Naples, works were created for the Infanta Maria of Spain, Artemisia Genttileschi corresponded to Cassiano da Pozzo in Rome. In 1630 she dated and signed the "proclamation" , and in 1632 the "Clio, Muse of History" .

Naples was an expensive plaster during this time. Nevertheless, the painter from Rome, who completed her training in Florence and came from Venice, was apparently well established in the art scene. She worked with other local artists on painting cycles, had received orders from the vice king Manuel de Acevedo Zúñiga y Fonseca, was known to the artist Massimo Stanzione.

Artemisia settled in Naples for almost a quarter of a century, apart from a short trip to London in the late 1630s. Although she actually intended to leave the city and put it in a letter to Andrea Cioli, she found herself in the middle of the chaos of the war and the high cost of living.

Nevertheless, Artemisia was successfully integrated into the Neapolitan art scene and received her first public orders. She painted her first altarpiece at the age of 30.

In contrast to other “foreign” artists, Artemisia was not systematically pursued by the Neapolitan painters. This could have been due to the fact that it was not a direct competition for the city's large decoration projects and had pronounced social skills. In addition, she had an ally in Massimo Stanzione, which she had already met during her stay in Rome - he played an important role in the procurement of orders for Philipp IV. And the cathedral in Pozzuoli.

Artemisia took over important public orders in the 1630s and served a loyal private customer in Naples . In doing so, she expanded her repertoire to historical and biblical stories with allegories and literary topics.

In contrast to other artists such as Jusepe de Ribera or BattiTello Caracciolo, Artemisias Neapolitan Art was shaped by an elegant naturalistic style that was described "tempered naturalism and moderate classicism"

These influences were due, among other things, to Simon Vouet and on contemporary painters such as Massimo Stanzione, Paolo Finoglia and Bernardo Cavallino, with which Artemisia worked closely. It is known that Artemisia created works in which several hands can be identified - this could partially be due to the fact that the requirements for their studio had to be constantly increasing and customer inquiries had to be met.

Cooperation with other artists was common in Naples; For example, she worked with landscape specialists such as Domenico Gargiulo (also known as Micco Spadaro) or architectural painter Viviano Codazzi.

In her later years in Naples, her cooperation with figure painter Onofrio Palumbo was even documented. This may have been made from practical considerations - due to its advanced age and increasing illness, she had to fulfill obligations.

Short intermezzo in London

In the years 1638 to 1640, the Italian baroque painter London was. There she supported her father with the ceiling pictures for the Queen's House in Greenwich .

During her stay in London, Artemisia is said to have been involved in the design of the ceiling of the large hall in the Queen's House in Greenwich. Orazio Gentileschi received the order from Queen Henrietta Maria to paint a series of ceiling paintings that represent the subject of peace that exists over the arts.

Originally intended for the queen's house, the paintings were installed by autumn 1638 and later moved to the Marlborough House. Iconography was most likely coordinated with the architect Inigo Jones before Artemisia's arrival in London.

Although it would be tempting to assume that father and daughter could have worked together on this project, Artemisia's contribution is not documented and her participation is controversial due to the poor condition of the screens after their removal from Queen's House.

Back to Naples

Her father died in London. In 1641 she returned to Naples - she was probably employed directly with the queen during her stay in England.

Her last known painting “Susann and the oldest” was created in 1652 shortly after her recovery from an illness when she was almost sixty years old.

Naples's tax records still know how to report payments from the painter from August 1654, after which her trace is lost.

How can Artemisia artistic handwriting be described shortly?

The art of Artemisia Gentileschi is stylistically influenced by Caravaggio and her father Orazio, but it places more emphasis on realism and naturalism.

Their paintings are characterized by powerful representations that impress with rich jewel colors and realistic skin tones. She broke with traditional representations of female figures in biblical and mythological stories by presenting strong heroines that can act independently.

Artemisia Genttileschi has portrayed women in their works as strong, brave and rebellious figures that do not correspond to the typical “female” properties. These representations of women as equal to men or even main characters were unusual in their time. Critics in the 20th century praised their bold brush strokes and the absence of any shyness and weakness in their paintings.

As a teenager, Gentileschi was sexually abused, which in many of her works against mirrors t. Topics such as abuse of power , rape and violence can often be found in their paintings.

It is believed that painting of these motifs has helped her to process her trauma and look for revenge and reparation through her works of art.

Italian baroque without Artemisia Gentileschi? Unthinkable!

The artist was an unusual appearance for her time and she had to fight her place in the art scene hard. Because, however, she kept, as we know from reports, and also defended him. She was aware of her situation, we also know that from her own records.

1916: Late appreciation by art historians

It was not until 1916 - about three centuries after her work - the Italian art historian Roberto Longhi a detailed study to her.

The art historian localized, identified, compared, compared and evaluated the paintings by Artemisia Genttileschi. In the end he was firmly convinced that she:

The only woman in Italy who has ever known what painting, color, mixture and similar essential things are. ”

According to Longhi, regardless of her gender, it is one of the “great masters” of the 17th century. She is seen as the founder of “Neapolitan Caravaggism” and her works do not have to hide from comparison with contemporaries such as Vermeer and Van Dyck (see Emma: Genttileschi - the revenge of the artist ).

Despite her extraordinary talent, Artemisia had to accept many setbacks. She became the victim of a public trial for rape by a colleague in her father - an event that strongly shaped her life. Nevertheless, she did not let herself get down and continued her way undeterred.

The reception of your works was difficult for a long time. Many paintings were attributed to other (male) artists, Artemisia Genttileschi was oked, denied, and swept under the table. We owe some lucky circumstances that we know so much of her today: the artist often signed her paintings, entertained a rather large workshop and was received. She was under the influence of the Dutch and French artists, whom she had met in Rome - and at times she could hardly save herself from orders.

The rediscovery of Artemisia Genttileschi by Anna Banti

Anna Banti wrote a fictional biography of Artemisia Genttileschi . It was this biography that had art history the strongest person in the Italian baroque.

In 1976 and 1977, paintings by Artemisia Genttileschi could be seen exhibition "Women Artists" Since then, the Italian baroque painter has been legend, icon, model and projection surface for many imagination.

Today Artemisia Gentileschi is finally given the recognition that she deserves. They are celebrated as a pioneer in feminist art history and recognize her groundbreaking contributions to the painting of the 17th century.

Her work continues to serve as inspiration for many artists worldwide who fight against all resistance to their passion. In particular, the “Me Too” movement can identify well with the strong woman, who asserted herself in a pure men's world.

Artemisia Gentileschi as a figurehead of the feminism movement

special meaning for feminists since the 1970s , after the feminist art historian Linda Ahnlin an article entitled "Why are there no great artists" to clarify this question.

In this article she examined the concept of a “great artist” and found that women in art and other areas did not receive the same recognition as men, due to oppressive structures and not because they were less talented.

ANSELIN emphasized the importance of studying Artemisia and other artists to learn more about the achievements of women in art history. The book “Violence Pflanzer's & Virtue: Artemisias Judith Caps HoloBernes” by Eve Straussman contains a foreword by Douglas Druick , in which it is mentioned that ANERSLIN's article has stimulated researchers to try to involve artists in the history of art and culture.

However, there are also critical voices regarding “instrumentalization” by the painter for feminist purposes and a one -dimensional view of the artist.

Artemisia's rape is often put in the foreground in feminist literature. There she is represented as a traumatized but brave and angry survivor whose everyday work was shaped by sex and violence. According to art historian Griselda Pollock (2006), popular culture often focuses on this one episode and not impressive career for many decades in the most important art centers of the then Europe (see Artmajeur Magazine: Artemisia Genttileschi ).

Feminist scientists have long since chosen Artemisia as the icon of feminism because she painted strong women and prevailed in the male -dominated art domain of the time as a successful artist and was a single mother. A narrative that is still extremely relevant and up -to -date in today's world in the struggle of many women to reconcile work and family.

Video contribution: Artemisia Genttileschi in 8 paintings | The National Gallery, UK

Highly traded works

In the 2010s, the prices for paintings by Artemisia Genttileschi already rose over 1 million euros. In 2014, Sotheby’s a “Portrait of Maria Magdalenas” for 865,500 euros, in 2017 and 2018 the prize was almost offered. However, the current record holds a "Lucretia" that was sold in November 2019 for 4.78 million euros at Artcurial in Paris.

Today the works of the Italian baroque painter can be seen in the Uffizi in Florence, hanging in the Prado in Madrid and in the Metropolitan Museum in New York .

Other paintings are located in the Schönborn collection in Pommersfelden, in London, Ohio and Detroit. And in Berlin.

References and literature:

• Artemisia (Kat. The National Gallery, London, 2020–2021), London 2020
• Artemisia Gentileschi e il suo Tempo , ed. v. F. Baldassari and MB de Ruggieri (Kat. Kat. Palazzo Braschi, Rome 2016–2017), Rome 2016.
• Orazio and Artemisia Genttileschi , HG.V. K. Christiansen and JW Mann (Kat. Museo del Palazzo di Venezia, Rome, 2001–2002).
• Susanna Partsch : Artemisia Gentileschi: Fighting Baroque painter - uncompromising businesswoman - artist between Florence and Rome (rows of clever women) , ed. v. Molden Verlag in Verlagsgruppe Styria GmbH & Co. KG (March 6, 2023), ISBN-13: 978-322150807
• Anna Banti : Artemisia . Novel. (= Artemisia ) from the Ital. by Sylvia Höfer, ed. v. Fischer-Taschenbuch-Verlag (Fischer pocket books, 1995) ISBN 3-596-12048-9
• Garrard, Mary D . : Artemisia Genttileschi: The Image of the Female Hero in Italian Baroque Art , ed. v. University Press Group LTD, ISBN.13: 978-0691002859
• Carla Heussler : Art is female!: Another art history from Artemisia Gentileschi to Yoko Ono. Successful painters, interesting rediscovery and current artists in portrait, ed. v. WBG Theiss; 1. Ed. (September 22, 2023)
• Eve Straussman-Planter,  Oliver Tostmann : by her hand: Artemisia Genttileschi and Women Artists in Italy, 1500-1800 , ed. v. Yale University Press (November 30, 2021), ISBN-13: 978-0300256369

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Joachim Rodriguez y Romero

Owner and managing director of Kunstplaza . Publicist, editor and passionate blogger in the field of art, design and creativity since 2011. Successful conclusion in web design as part of a university degree (2008). Further development of creativity techniques through courses in free drawing, expression painting and theatre/acting. Profound knowledge of the art market through many years of journalistic research and numerous collaborations with actors/institutions from art and culture.

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