Artemisia as a Feminist

Women in Renaissance Italy faced rigid societal standards to which they were supposed to conform. They lived public lives, directed almost exclusively by other people in regards to significant decisions. However, this does not mean that a rise above the oppressive nature of the Renaissance was impossible. Several exceptional women were able to challenge their given positions in a society through their education, practices, seclusion, beauty, and roles. In an examination of several positions, through the Exhortations to Women and to Others If They Please by Lucrezia Marinella and the letters of Laura Cereta, a Renaissance feminist, women can be seen as accepting of their position in society or rebelling against it. Their lives and prescriptive writings show how one can either follow the role given to them or exceed beyond it and become an exceptional woman.

Furthermore, he considers secondary sources in interpreting and analyzing the different artists’ paintings. Baxandall examines the importance of contracts, where marketing negotiations are made between an artist and their client. This includes detailed aspects in the content of the painting, the quantity and quality of materials used in the painting and the cost for labor in making the piece. He argues that although a painting is convincing and strong, the painting could, however, be reduced to nothing more than a constructional argument between the buyer and the seller. This is done by explaining the mechanics through which the Renaissance artists went about to develop their talent. A painting in Italy during that period resulted in a social relationship between the painter, who produced the picture, and the client, who provided the funding and ultimately used the artwork. He clearly suggests that the great materials and effort placed into an art piece provide the groundwork for an

some of history of psychology that led to the current state of affairs, beginning at World War 2.

Gender inequality has been a controversial topic for numerous religions and cultures throughout history. Women were commonly regarded as the subservient gender, an idea that was no different in Ancient Greece. Throughout Greek mythology, women were considered inferior and troublesome symbols, while men were known for courage, leadership, and strength. While there is no argument of the flagrant sexism that is illustrated in Greek mythology, it can also be claimed that women were given a situated position of freedom, necessity, and power as well. Many popular Greek plays and myths contain several complexes and well described female characters. These goddesses themselves, partook the role of victim, heroine, and villain as it illustrated the diversity of characters in which women were portrayed and seen in both Ancient Greek society and mythology, allowing us to question “Were the women of Ancient Greek mythology equally represented as free and superior?” The creation of the Greek mythological universe, the creation of multi-gendered goddesses or deities, and the free and superior personalities accredited to women in Ancient Greek mythology to answer the question that women were fairly represented as powerful in Ancient Greek mythology.

Artemisia Gentileschi was not the first to paint Judith Slaying Holofernes. Her father had painted Judith. Michelangelo, Botticelli and Caravaggio had painted Judith. Donatello had sculpted Judith. But she was the first to interpret the story of Judith, in a time when women had few rights, as an allegory for female dominance. In comparison with other contemporary versions, the composition, dramatic style, and emotions of the characters present a violently feminist view that may have stemmed from Gentileschi's own experiences.

Italy can be looked at as the home of the renaissance and consequently the immergence of great art. Artists such as Michelangelo, Botticelli, Da Vinci, and Raphael are some of the greats and are looked at for standards. But what about the artists whose lives are mysteries, and their works that were influenced by the greats? These artists hold just as much importance in the history of art as do the artist’s whose names can be recalled off the top of an average person’s head. During the sixteenth century things began to change in the art world, and that change was the Baroque. This new style of art brought a revolution to how subject matter was painted, it brought upon “… a radical reconsideration of art and its purposes…” (249) and how artists of all ranks could learn to paint the up and coming style of Baroque.

Artemisia Gentileschi is believed to have been born around 1593 and died around 1652.  Both dates are disputed to the current day.  She was one of five children and was born into the life of an artist.  Her father, who was an artist as well, loved her greatly.  Her mother died when she was twelve.  Artemisia was always a skilled painter, but her father wanted even more for her daughter.  While her works were already amazing for her age, she needed artistic guidance in order to further her skills.  One man who was hired as a tutor was named Agostino Tossi.  Tossi almost immediately was an annoying presence in the house frustrating Artemisia.  However, in 1610,

Artemisia Gentileschi was born in Rome in 1593. Her father was Orazio Gentileschi, a very well-known artist in Rome at that time. At this time, men ruled the art world. This was the post-renaissance era, and women were only involved in portrait painting. She was known for painting religious and historical scenes, paving the way for other female artists. She received training from her father in her early years as an artist. Gentileschi, tragically, was raped by an artist who was friends with her father. He was exiled from Rome when put to trial. She also lost her mother when she was 12. Her childhood and young adult years were not easy. Through her struggles, she managed to overcome all odds and make her work known in an art world run by men.

Artemisia continued an affair with Agostino under the promise of marriage, when the marriage never happened, her father brought charges against Tassi and a trial ensued, to which Artemisia was tortured during a gynecological examination for the trial. Again life imitating art and a testament toward the women depicted in her paintings. Miss Gentileschi married a man named Pierantonio Stiattesi and they moved to Florence. As mentioned, Artemisia had 5 children, however only her daughter Prudentia survived into adulthood. After her mother's death in 1656, Prudentia disappeared from history.

In the scope of this paper two works of art would be compared and contrasted - David’s Oath of the Horatii and Painting of Giovanni Arnolfini and His Bride by Van Eyck.

Considered one of the most important artists of the Baroque movement in Early Modern Europe, Artemisia Gentileschi, had to prove herself and break down the boundaries for a woman in a male dominated field. Artemisia was born in Rome on July 8, 1953 to Orazio and Prudentia Monotone Gentileschi, who died when the artist was only twelve years of age. Her upbringing was left to her father, who was also a well-known painter. He trained her since she was not permitted to learn in the studios of successful artists of the moment. Orazio introduced his daughter to the working artists of Rome including Caravaggio, whose tenebrism technique and chiaroscuro style had a great influence on her paintings.

"Art HERstory: Artemisia Gentileschi | M.I.S.S.." Pop Culture Lifestyle Network- Pop Culture and Lifestyle Blog. N.p., 24 Feb. 2010. Web. 19 Apr. 2011. <http://www.missomnimedia.com/2010/02/art-herstory-artemisia-gentileschi/>.

Alberti makes it clear that he is not concerned with painting’s origins, even though he briefly discusses them. Subsequently, the author uses old writings as reference to strengthen his point of view on how highly painting is esteemed above other “crafts” history. It is therefore clear that the author believes painting to be somewhat in metaphysical nature, something beyond the ordinary.

The present work is focused on undertaking an in-depth analysis of two famous religious paintings: The Virgin and Child by Barnaba da Modena, an Italian painter from the fourteenth century, and The Elevation of the Cross by Peter Paul Rubens, a seventeenth century Flemish artist and diplomat. Following, by comparison, a thorough account of the two works' features, careful observation reveals more than one interpretation.

Director Agnes Merlet’s film, “Artemisia”, tells the story of the Italian Baroque painter Artemisia Gentileschi and her relationship with her teacher. Merlet’s take on the story is one that endorses the student-teacher romance; as well as promoting Gentileschi’s feminism and portraying her as a strong, individual character. The movie is successful in depicting both the intensity of student-teacher relationship, and Artemisia’s independent will. Nevertheless, at times the relationship between Tassi and Artemisia seems more Hollywood-like than realistic, which at times degrades Artemisia’s character by making her seem injudicious.