Self-Portrait as a Female Martyr

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Self-Portrait as a Female Martyr
ArtistArtemisia Gentileschi
Yearc. 1615
MediumOil on panel
Dimensions31.75 cm × 24.76 cm (12.50 in × 9.75 in)
LocationPrivate collection, USA

Self-Portrait as a Female Martyr, is also known as the Self-Portrait as a Martyr Saint.[1] This painting was created by the Italian female artist, Artemisia Gentileschi.[1] This self-portrait was made around 1615 depicting the artist herself as a martyr.[2] It is one of two paintings by Gentileschi painted with oil on a wood panel.[3] This self-portrait is currently in a private collection in the United States.[3]

Description[edit]

An inscription on the reverse confirms that it is painted by the artist Artemisia Gentileschi.[2] The inscription is written in Italian which Inscribes: Di Mano di Artemisia figlia di A.rili.Lomi/Pisano Nipote di Orzio.[2] This roughly translates to: Di Mano di Artemisia daughter of A.rili.Lomi/Pisano Grandson of Orzio.[2]

There has been much debate over whether Gentileschi had painted herself or a specific saint.[2] It was noted by Keith Christiansen that the painting had to be a self-portrait of the artist instead of a Christian saint because of the physical features in the self-portrait.[2] The description of the woman’s bow lips, the dip in the nose, and round face are identical to Gentileschi’s features.[2] These features were also similar to another one of Gentileschi's paintings she made around this time period, Allegory of Inclination.[2] Lastly, Gentileschi's use of rose drapery and lapis blue paint is similar to the paint in Mary Magdalene, another of Gentileschi's works of art as well.[2] This concluded the discussion of this painting being a self-portrait.

The artist depicts herself in the style of a martyr, which can be seen with the yellow palm frond in her hand.[4] The depiction of palm fronds was a way to symbolize said martyrdom.[5] This representation goes back as early as the Revelation in the Christian bible.[5] If the palm frond was not there, the self-portrait of a woman martyr would turn into just a regular self-portrait painting.[5] It was very common in the seventeenth century for women to be painted as biblical female martyrs; because paintings of woman were meant to emit innocence, having saint like features and doing saint like acts was seen as the ideal woman.[5]

Enrica Guerra suggested that the awkward proportion of the hand in comparison to the head suggests that it may have been added at a later stage.[4] The only major change besides the hand in the painting is that Gentileschi painted a turban on the woman, though it is unknown when this change occurred.[2] It was very popular for many artists at this time to depict their self-portraits with a turban, but this was not done to depict a certain saint.[2] Since the painting does not appear to have been cut down in size, the painting is also accurate to what Gentileschi painted.[1] It is unusual in this time period for there to be a painting of a martyr that lacked the attribute of a specific saint in the painting.[1] Artemisia Gentileschi painted self-portraits as several different people in many of her artworks, such as the Self-Portrait as the Allegory of Painting, Self-Portrait as a Lute Player, and Self-Portrait as Saint Catherine of Alexandria yet this was the only Gentileschi did where she depicted herself as the saint.[1]

Painting Materials and Technique[edit]

The painting was made on a wood panel in oil paint.[3] This was unlike Artemisia Gentileschi's usual method of painting, which was usually done with oil on a canvas.[3] Gentileschi would use a technique called sfumato which is when paint is delicately blended together.[3] She would usually use a black background while creating her artwork.[3] Gentileschi also put an emphasis of realism in her works of art.[3] Mary Gerrard mentions how the size of the panel can also hint at intimacy.[6] The panel being smaller indicated that it was a more private meaning and may be a part of some sort of symbolism.[6]

History[edit]

This painting is a Baroque artwork. In the seventeenth century, Baroque could be seen as any medium of art from painting, sculpting, ceramics, to many more.[7] Baroque art is also used in many Catholic settings, such as churches, and is used in public domains.[7] The art represented important moments in the Bible that were revered, and artists would be hired to paint certain saints.[7] The goal was to have the onlookers be filled with emotion while looking at the pieces.[7] Baroque art was even used in political religious settings.[7] This particular baroque painting is believed to have been made during the artist's time in Florence, based on both the appearance as well as some supplier records discovered in archives.[4] The date is recorded as 1614 but since the new year in Florence did not begin until March the date is technically 1615.[2] The work is signed "Artemisia Lomi", the name she assumed while working in Florence to associate herself with her uncle Aurelio Lomi, who had already established a reputation there.[1] Yael Evan mentions that Gentileschi desired to be treated as if she was a male painter.[8] During this time period, women were not allowed into any academy of arts.[8] Being seen as a male painter in that century would have been a great honor.[8]

The artist, Gentileschi painted this portrait depicting herself as a female martyr when she was twenty-two.[9] Helen Clements describes Gentileschi’s painting as portraying herself in a gentle and more intimate manner.[9] Clements commented on the way Gentileschi looked in the painting mentioning that the women looks very soft.[9] There is no pity emitting from the painting.[9] Clements examines the theory that Gentileschi was painting herself as a martyr saint to reflect how she felt when she was raped as a teenager years before.[9] She concludes that Gentileschi's portraits revealed that she did not want to have her past be one of pity and dismay; she denounces the theory that Gentileschi painted herself as a martyr only because of her famous past.[9] Susanna Scarparo portrays Gentileschi as a painter that struggled to be recognized for her skill in the arts rather than being famous for what happened to her in her past.[10] She critiques how previous writing on Gentileschi focused on this rather than her artwork.[10] Gentileschi is one of only a few famous female artists recognized in the 17th century and the first Italian women to specialize in Italian painting.[8] Gentileschi's one of many great achievements was being the first women to join Florence’s Academy of Design.[11] Over the years Gentileschi has made many self-portraits and painted mostly only women in different environments, but only one of her as a martyr.[10]

Provenance[edit]

The painting was originally made in Florence. The painting was in the collection of Ignazio Hugford, who lent it to an exhibition in Florence in the 1760s.[1] The painting was in Hugford's possession until 1779.[2] Later on, the painting was in the collection of Martha Beavan née Wallaston of Leintwardine, Herefordshire.[1] At one point Newhouse Galleries had this painting in a private collection in 1995.[2] The self-portrait was sold at Sotheby's London December 9, 1987.[1]

See also[edit]

References[edit]

  1. ^ a b c d e f g h i Ward., Bissell, R. (1999). Artemisia Gentileschi and the authority of art : critical reading and catalogue raisonné. Pennsylvania State University Press. ISBN 0-271-01787-2. OCLC 757432735.{{cite book}}: CS1 maint: multiple names: authors list (link)
  2. ^ a b c d e f g h i j k l m n Christiansen, Keith (2001). Orazio and Artemisia Gentileschi. Judith Walker Mann, Orazio,? Gentileschi, Artemisia, or 1653 Gentileschi, Museo di Palazzo Venezia, Metropolitan Museum of Art, St. Louis Art Museum. New York: Metropolitan Museum of Art. ISBN 1-58839-006-3. OCLC 47650673.
  3. ^ a b c d e f g Locker, Jesse (2015). Artemisia Gentileschi : the language of painting. New Haven. ISBN 978-0-300-18511-9. OCLC 877369691.{{cite book}}: CS1 maint: location missing publisher (link)
  4. ^ a b c Guerra, Enrica (2022). "Artemisia. Letizia Treves, ed. Exh. Cat. London: National Gallery Company, 2020. 256 pp. £35". Renaissance Quarterly. 75 (4): 1312–1314. doi:10.1017/rqx.2022.339. ISSN 0034-4338. S2CID 255678494.
  5. ^ a b c d Merriam, Thomas (2005-06-01). "The Palm of Martyrdom, The Crown of Victory". Notes and Queries. 52 (2): 213–214. doi:10.1093/notesj/gji229. ISSN 0029-3970.
  6. ^ a b D., GARRARD, MARY (2023). ARTEMISIA GENTILESCHI AND FEMINISM IN EARLY MODERN EUROPE. REAKTION BOOKS. ISBN 978-1-78914-777-3. OCLC 1373835306.{{cite book}}: CS1 maint: multiple names: authors list (link)
  7. ^ a b c d e A., Mullett, Michael (2023). CATHOLIC REFORMATION. ROUTLEDGE. ISBN 978-1-000-89157-7. OCLC 1371790666.{{cite book}}: CS1 maint: multiple names: authors list (link)
  8. ^ a b c d Even, Yael; Bissell, R. Ward; Garrard, Mary D. (2002). "Artemisia Gentileschi and the Authority of Art". Woman's Art Journal. 23 (1): 37. doi:10.2307/1358966. ISSN 0270-7993. JSTOR 1358966.
  9. ^ a b c d e f Marie, Clements, Helen (2006). Painting beyond the canvas : an antithetical visual statement by women artists of the sixteenth and seventeenth centuries. [Verlag nicht ermittelbar]. OCLC 876140231.{{cite book}}: CS1 maint: multiple names: authors list (link)
  10. ^ a b c Scarparo, Susanna (2002). ""Artemisia": The Invention of a 'Real' Woman". Italica. 79 (3): 363–378. doi:10.2307/3656098. ISSN 0021-3020. JSTOR 3656098.
  11. ^ ffolliott, Sheila (2021-02-24), "Artemisia Gentileschi", Art History, Oxford University Press, doi:10.1093/obo/9780199920105-0164, ISBN 978-0-19-992010-5, retrieved 2023-03-30
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