Artemisia Gentileschi
Sep 14th, 2007 by maoch
As you read W. and M. Wittkower on Gentileschi, consider the language the authors use to describe Gentileschi, her personality, career, attitude(s), art, and the “case of seduction.” How do they describe Agostino Tassi and his actions? How does the “legend” of Gentileschi compare with Vasari’s account of Properzia dei Rossi?
One theme we see here is how biography — particularly a woman’s sexuality — is used to interpret the work of women artists. This has been the case with Gentileschi since 1612, at least.
Look carefully at the series of paintings Gentileschi produces on the subject of Judith and Holofernes. Among the many issues for us to discuss (and there are many) is clothing. How are Judith and the woman who accompanies her dressed? What does this clothing indicate, and how would it have been understood by Gentileschi’s contemporaries?
For the narrative of Susanna and the Elders, please read the Book of Susanna; for Judith and Holofernes, read the Book of Judith, chapters 10 through 13. Both are available at this link to the Bible.
Wow, Marjorie, you have really been going blog wild. This is excellent, your posts have been fascinating, thanks for the free education!
While I was reading the Garrard article I got a little upset when they stated that Susanna and the Elders might not be by Artemesia because she was at an impossible age (13). I think that someone can have incredible skill at 13. Haven’t they ever heard of a child prodigy? It happens all the time in music and nowadays we have 13 year old kids going off to college. I think that it is entirely possible for a person with incredible talent, like Artemesia, to have created something that revolutionary at 13. I realize that the date of her birth was under speculation and she may have actually been 17 at the time, but I still don’t think that 13 is an impossible age.
I think a more obvious, but interesting note was the remark that male artists in the Renaissance depicted Susanna as appearing tempting, or being seductive in the presence of the men. (Was this Garrard? It’s late) But when noting the attribution of the main Susanna to Artemisia, Susanna is depicted as resisting with anguish (construed as the more feminine POV)- this could connect to what Wittkower had to say about the definitions of sexuality at those times, especially in regards to rape. I think a lot of questions could stem from these authors’ remarks, I’d be interested in what others thought!
As exciting as the possibility of Artemesia: Child Prodigy is to a big fan like me, I have to admit, I’m pretty skeptical about the assumption that a thirteen year old Artemesia could have painted the Susanna and the Elders in question. It doesn’t fit with the education system which governed painters at the time nor with her personal biography, as she is described by her father to have started painting at age 16 (Garrard).
Painting is a process based skill, so, while the requisite skills of drawing, composition and colorism could appear nearly fully-formed in a prodigy, the labor intensive (and often counterintuitive) methods of grinding, prepping, and layering paint would almost certainly be beyond a thirteen year old, even one raised in the house of a painter (Keep in mind, would-be painters weren’t apprenticed until around that age, at which point they were limited to drawing in charcoal and preparing materials). Most importantly, the discipline required to anticipate the final composition is exhuastive and based in years of experience and knowledge. The painter has to be aware of where to build up and down the paint surface, where final shadows will fall etc., which is something that is a remarkable accomplishment for even a 17 year old Artemesia. (Keep in mind, we discover Caravaggio at age 21 in Rome, with less than a fully realized style and definately undiscipline technique).