The first female artist, Artemisia Gentileschi was born on July 8th 1593 and would die as the most important woman painter in Early Modern Europe. At a very young age, Artemisia was introduced into the world of painting by her father, Orazio Gentileschi. Orazio was a well-known painter as well, with much of his work consisting in a Mannerist style. Italian painter Caravaggio, had a tremendous amount of influence on both Orazio and Artemisia. His realistic work revolving around the human state is clearly seen in Artemisia’s work.
Artemisia’s mother died when she was young, leaving her dad as the main source of influence in what she would do for a living. Art in the late 1500’s and 1600’s was primarily created by men, therefore leaving a window of opportunity for Artemisia. At first she was excluded from studios, but that would simply not last given her father was a painter and she had tremendous talent. What was remarkable is the fact that she received little to no training by anyone other than pointers by her father with respect to artistic ability. Conventional schooling was not a reality for the young painter, given the priorities of art.
As a matter of fact, Artemisia never learned to read until becoming a full grown adult. Lacking in basic fundamental building blocks of learning and even “has suffered a scholarly neglect that is almost unthinkable for an artist of her caliber” according to Historian Mary D. Garrard, is unconventional for modern day society. Although lacking in these building blocks, Artemisia did not struggle with producing art that is known to be some of the greatest treasures in early European civilization. At the young age of seventeen, she created a monumentally uccessful painting called Susanna and the Elders.
The painting was so professionally created many people spread rumors that she was helped by her father, eventually these claims were debunked and discredited. During the Florentine period, Artemisia had astonishing results as a painter. She was the first female granted access into the Academy of Arts and drawing. While continuing to defy odds with every step that she made, good relations with prolific artists of her time. Perhaps one of the most interesting people she made contact with on a regular basis by letter was Galileo Galilei.
Having the notoriety of her work, opened the doors for many opportunities that would have otherwise been very difficult to achieve. Garnering favors, having protection by the Grand Duke of Tuscany and the Grand Duchess was a massive feat. A critical point in young Artemisia’s life happened when her father hired Agostino Tassi to privately tutor his daughter. Now, Agostino Tassi was a very talented painter that specialized in landscapes and seascapes but could provide potential insight for young Artemisia. During the mentorship, Tassi raped Artemisia along with another man named Cosimo Quorlis.
Proceeding the rape, there was sexual behavior that continued with the hope to become a sacred bond. Moreover, Tassi redacted his promise to become Artemisia’s partner and Orazio was not enthused. Nine months after the initial rape Artemisia’s father pressed charges on Tassi. After a seven month trial, the family figured out that Tassi had very evil plans. The plan entailed in murdering his wife, committing adultery with his sister in law and stealing some of Orazio’s paintings. The mindblowing part about figuring out these facts, Artemisia was considered a liar and was subjected to torture in order for her testimony to become authentic.
After the conclusion was reached that Tassi did indeed fall guilty to these allegations and was sentenced to a year in prison, he never served the time. Results of the trial eventually led to the feminist outlook on Artemisia in the late twentieth century. It is no surprise to see the trial upset many women and also men. The instance in which a party was undoubtedly guilty fueled the fire for a movement that would still be relevant today. Soon after the trial, she painted Judith Slaying Holofernes (1612-1613). Historians call this work of art “remarkable in technical proficiency” especially given the way Judith is portrayed through the piece.
What is so unique about the piece is that fact that the work takes a visual from the apocryphal Book of Judith in the Old Testament. Artemisia had the incredible insight to draw parallels with historical events and modify them to her artistic ability. Her visual puts her in the position as Judith and her rapist Tassi as Holofernes. Historian Mary Garrard once again attributes this work to the rage and expression of the outcome to the trial. About a month after the trial was finished, she married an artist from Florentine named Antonio di Vincenzo Stiattesi.
Eventually she moved to Florence with her husband and had a child named Prudentia or Palmira. There are two names historians say because she would respond to either. Her daughter was named after her mother who died when she was twelve. This was the time period when she achieved notable things in Florence. Additionally, she was respected by the nephew of late and great Michelangelo. His nephew asked Artemisia to help him celebrate his relative by painting the ceiling of the gallery of paintings. Many of her pieces included self-portraits said to be because of her heroine.
After painting a second version of Judith Beheading Holofernes, she returned to Rome in 1621 without her husband. Although her artwork was monumental and a tremendous success, there was financial problems between the couple. After returning to Rome, Orazio left for Genoa. Some sources claim she went with her father, but most of the evidence supports her staying in Rome and finding a place to raise her child. It is very safe to say once her return to Rome, her art was not as well received. The producing slowed down and her financial status was not as strong.
However in 1630, she moved to Naples which was a city that was highly trenched with art lovers and workshops. Financial opportunity was an additional incentive to move to Naples. Many famous artists of her time had spent time in Naples, likely because of the rich culture of art. Naples for her was sort of like a second home because of the fact her daughter married there. Her remaining art career would end in Naples for the most part. Naples was also unique place for Artemisia given that she started working on paintings in a cathedral setting.
The famous painting The Martyrdom of St Januarius was a very famous piece in the amphitheater of Pozzuoli. Along with cathedral paintings, she also continued to do selfportraits like the Allegory of Painting (1630). She collaborated with a number of male artists as well. Records show that in the year of 1637 she was in need of finances to support the wedding of her daughter, so she began looking for potential big donors. Eventually she was joined by her father in London to meet with King Charles I of England. She resided in the English court from the years 1638 to 1641.
The King was a big fan of art, giving her an opportunity to enrich. Although there could’ve been other projects she worked on, it is said that she worked with her father to decorate the ceiling of the Queens house. Her father Orazio, died in 1639 leaving her in a situation. Since she was assigned along with her father, she still had obligations to fulfill. Historians say that she left England by 1642 before the heavy part of the civil war engulfed. She returned to Naples until the end of her life supported by letters with her mentor Don Antonio Ruffo.
She was still active with her art, though. Five different variations of Bathsheba and possibly another Judith. There is not a definitive record to her death, but only satirical stories. Some historians including Charles Moffat believes suicide was a potential cause of death. This would explain why the record books are not definitive. She died in 1656 (as most agree), as the most successful female artist in human history. What is incredible about Artemisia is the resilience she possessed during the rape trial and male dominance.
Soon after her death, there were several derogatory epitaphs published about her. The foundation that she laid for the feminist movement was a very powerful one. Her hard work and dedication showed that at the time, a woman was no question able to perform adequately or even better than her male counterparts. The historical importance of her art work is welldocumented and shows just how revolutionary her efforts really were. In my view, her work was a clear statement that she wanted to leave. Some of her work included incredibly graphic content, showing her discontent for the status quo.
She knew exactly how women were viewed through the eyes of men and it bothered her tremendously. In conclusion, Artemisia Gentileschi was a massive historical figure that went beyond her art. Although she used her art as a platform to express her feelings, people were able to interpret her feelings without any question. The movement goes beyond art and just her. She started a movement that allowed women to accomplish things on a human rights level. I believe her early works acted as a catalyst for many of the pieces of legislation with respect to women.