UTA ART 1301 ARTIST PRESENTATION

1. Artemisia Gentileschi Michelle Coslin Sharon Cooke Andrea Colburn Luke Daw

2. Artemisia was born on July 8, 1593 To Orazio Gentileschi and Prudentia Montone. Orazio, a painter himself, recognized his daughter’s talents at an early age and began tutoring her. Being female, she was excluded from apprenticeships in successful artists studios. Her father arranged for her to study under fresco artist, Agostino Tassi (Parker). Madonna and Child c. 1609 Her approximate age at the time of this painting is 16

3. The Trial In 1612, Orazio Gentileschi filed charges against Tassi for the rapeof Artemisia. Artemisia testified that Tassi hadraped her but because he promisedto marry her, she had continuedtheir affair. The 7 month trial was public humiliation as she was subjected to a court ordered examination by midwives to determine her state of virginity and forced to listen to testimony regarding her loose morals (Garrard). “Self Portrait as the Allegory of a Painting” Or “A Painter in Her Studio” c. 1630

4. Susanna and the Eldersc. 1610 age 17 Susanna and the Elders is her first signed and dated work and represents two themes dominant throughout her career – “women heroines and the female nude” (Harris and Mann). “Susanna” a frequently painted subject, was a biblical story of a young woman sexually harassed by elders in her community. Unlike her male counterparts, Artemisia portrayed Susanna as vulnerable, afraid, and repulsed by their advances. Her work was so good, many attributed this painting to her father (Parker).

5. Artemisia and Caravaggio Her father introduced her to the numerous artists of Rome, including Caravaggio whose useof dramatic chiaroscuro (light and shadow) influenced her painting. She is the only known femaleartist to follow Caravaggio’s style (Garrard). She would later paint her interpretation of Caravaggio’s, “Judith Beheading Holofernes” pictured above (Parker). Caravaggio’s “Judith”c. 1598 (Parker)

6. Artemisia’s “Judith” Much bloodier than Caravaggio’s version, notice Artemisia has two dominant female figures in her version whereas Caravaggio’s heroin looks squeamish (Parker). It is believed to have been painted during the trial of Tassi – a traumatic experience for a 19 year old – and one that many believe influenced her paintings (Harris and Mann). c. 1612 – 1613 (Parker)

7. The Angel c. 1613 As a female artist in the 17th century, Artemisia defied gender roles by not painting stereotypical portraits and small devotional pictures which were considered appropriate for female artists. Her desire to establish herself by painting historical and biblical scenes paid-off making her one of the first Italian Baroque female painters to be praised by her contemporaries for her artistic achievements (Harris and Mann). Volterrano, a contemporary Florentine Fresco artist later added the drape for modesty (Parker)

8. A New Beginning Artemisia moved from Rome to Florence after she married Florentine artist,Pietro Antonio di Vincenzo Stiattesi in late 1612 ; a time when the sensation caused by the rape trial was still hurtful. She and her husband were friends with a then, controversial astronomer and mathematician, Galileo (Parker). In 1616 they both became members of the Academie del Disegno (Academy of Design) with Artemisia being its first female artist (Harris and Mann). “Self Portrait with Lute” c. 1615 – 17 (Parker)

9. Absolution Artemisia once again paints Judith and her maidservant – this time after beheading Holofernes. Notice that Holofernes’ head is nestled inside the basket and the two heroines appear resolute on finishing their mission. It is thought that Artemisia may have been expressing her psychological resolution of the trauma suffered during the rape and trial. The final act of beheading her attacker is thought to be symbolic of castrating Tassi (Parker). “Judith and her Maidservant” c. 1613 – 1614 (Parker)

10. Final Respects Despite Artemisia’s extensive patronage and professional achievements she has suffered unthinkable scholarly neglectwhich some attribute to the fact that she was a woman (Garrard). How ironic that the one thing thatlimited her success, until now, is whatgives her paintings such emotion, as evidenced in her Madonna and Child (above) Artemisia Gentileschi was undoubtedly a woman competing in a man’s world but she was just as strong as the women she portrayed on canvas and is finally beginning to receive the recognition she so rightly deserves.

11. References Garrard, Mary. "Artemisia Gentileschi: The image of the female hero in Italian baroque art." Princeton University Press (1989): n. pag. Web. 21 Feb 2011. Harris, Ann and Mann, Judith. "Artemisia Gentileschi." Oxford Art Online (2009): n. pag. Grove Art Database. Web. 21 Feb 2011. <http://libroxy.uta.edu:3439/subscriber/article/grove/art/T031374> Parker, Christine. "The Life and Art of Artemisia Gentileschi." The Life and Art of Artemisia Gentileschi. 2009. Web. 25 Feb 2011. <http://www.artemisiagentileschi.com/index.shtml>. Musical accompaniment Miller, Dominic. Adagio in G minor. iTunes, 2004. MP3