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Disobedient (2023) by novelist Elizabeth Fremantle is a feminist retelling of Artemesia's life and art.
In the theatre
Artemisia, and more specifically her painting Judith Beheading Holofernes, are referred to in Wendy Wasserstein's play The Heidi Chronicles (1988), in which the main character, Heidi, lectures about it as part of her art history course on female painters. At the end of the play, Heidi adopts a daughter she names Judy, which is at least a partial reference to the painting.
Canadian playwright Sally Clark wrote several stage plays based on the events leading up to and following the rape of Artemisia. Life Without Instruction, commissioned by Nightwood Theatre in 1988, premiered at Theatre Plus Toronto on August 2, 1991.
Blood Water Paint, a play by Joy McCullough, is a play about Artemisia Gentileschi. Productions of the play took place in Seattle in 2015 and 2019.
Breach Theatre's It's True, It's True, It's True (2018) is a play derived from the transcripts of the trial, translated from Latin and Italian into conversational English, and was first performed at the Edinburgh Fringe Festival, where it won The Stage Edinburgh award and a Fringe First award. After touring the UK, it was then broadcast on BBC Four on 9 February 2020.
The Anthropologists, a theater company in New York City, created a solo show, Artemisia’s Intent, inspired by the life of Artemisia Gentileschi.
The speculative nonfiction opera entitled Artemisia, with music by Laura Schwendinger and libretto by Ginger Strand, winner of American Academy of Arts and Letters Ives Opera Award ($50,000), the largest such award for opera. Artemisia was premiered in New York City by Trinity Wall Street in an orchestral version at St. Paul's Chapel with Christopher Alden, director and Lidiya Yankovskaya, conductor on March 7 and 9, 2019 as part of the Times Arrow Festival; and in San Francisco by the Left Coast Chamber Ensemble, June 1 and 2, 2019.
Forward Theater in Madison, Wisconsin, along with World Premiere Wisconsin, commissioned and premiered Artemisia, written by Lauren Gunderson (April 13–30, 2023).
The Light and The Dark (the life and times of Artemisia Gentileschi), a play by Kate Hamill, premiered at Chautauqua Theater Company in August 2024, directed by Jade King Carroll. It is scheduled to be performed in Manhattan at Primary Stages at 59E59 Theaters in November 2024.
On television
Artemisia's life and the Judith Slaying Holofernes painting played a pivotal role in the ITV miniseries Painted Lady (1997), starring Helen Mirren.
An episode of the British television crime series Endeavour (2018) depicts a series of murders inspired by Artemisia's biblical paintings of women taking vengeance on the men who harmed or abused them.
Artemisia was the subject of a 2015 BBC documentary, Michael Palin's Quest for Artemisia.
An unnamed painting by Artemisia Gentileschi is mentioned in The Crown (season 3, episode 1). Prince Philip, seeing the painting, asks Sir Anthony Blunt who the artist is, Blunt replies 'Artemisia Gentileschi', to which Philip says 'Never heard of him'. 'Her, sir', Blunt corrects him.
Artemisia Gentileschi's life, her rape, and her Judith Slaying Holofernes painting are referenced in Episodes 3 & 4 (A Murderous Party) of the French detective series L'art du crime, starring Nicolas Gob. Blandine Bury stars as Artemisia Gentileschi.
In other artworks
Artemisia Gentileschi is one of the women represented in The Dinner Party, an installation artwork by Judy Chicago that was first exhibited in 1979.
In cinema
The film Artemisia (1997), by Agnès Merlet, tells the story of Artemisia's entry into being a professional artist, her relationship with Tassi, and the trial. Merlet exonerates Tassi of rape, however, not only by depicting their sex as loving and consensual (which was controversial when the film was released), but also by two ahistorical fabrications: Artemisia refuses under torture to say that she was raped, while Tassi falsely confesses to rape to stop Artemisia's torment.
In 2020 the documentary film Artemisia Gentileschi, Warrior Painter, directed by Jordan River, was produced.
Gallery
See also
Women artists of the Baroque Era
References
Citations
Sources
Bissell, R. Ward (1999). Artemisia Gentileschi and the Authority of Art: Critical Reading and Catalogue Raisonné. Pennsylvania University Press. ISBN 0-271-02120-9.
Chaney, Edward (2000). The Evolution of the Grand Tour: Anglo-Italian Cultural Relations since the Renaissance. Routledge. ISBN 0-7146-4474-9.
Christiansen, Keith; Mann, Judith W. (2001). Orazio and Artemisia Gentileschi (exhibition catatalogue). Yale University Press. ISBN 1588390063. OCLC 893698075. (also at The Metropolitan Museum of art
Ciletti, Elena (2006). "Gran Macchina a Bellezza". In Bal, Mieke (ed.). The Artemisia Files: Artemisia Gentileschi for Feminists and Other Thinking People. Chicago: University of Chicago Press.
Cohen, Elizabeth S. (Spring 2000). "The Trials of Artemisia Gentileschi: A Rape as History". Sixteenth Century Journal. 31 (1): 47–75. doi:10.2307/2671289. JSTOR 2671289. S2CID 160185186.
Cropper, Elizabeth (2020). "Artemisia Gentileschi: La Pittora". In Treves, Letizia (ed.). Artemisia. London: National Gallery.
Fortune, Jane (2009). Invisible Women (3rd ed.). Florentine Press. ISBN 978-88-902434-5-5.
Garrard, Mary D. (1989). Artemisia Gentileschi: The Image of the Female Hero in Italian Baroque Art. Princeton University Press. ISBN 978-0-691-04050-9.
Garrard, Mary D. (2001). Artemisia Gentileschi Around 1622: The Shaping and Reshaping of an Artistic Identity. Los Angeles, California: University of California Press. ISBN 978-0520228412.
Moss, Matthew (n.d.). "Distraught young mother breastfeeds her infant. Artemisia Gentileschi 1593–1653". academia.edu.
Nochlin, Linda (1971). "Why Have There Been No Great Woman Artists?". In Gornick, Vivian; Moran, Barbara K. (eds.). Woman in Sexist Society: Studies in Power and Powerlessness. Basic Books.
Pollock, Griselda (1999). Differencing the Canon: Feminist Desire and the Writing of Art's Histories. London and New York: Routledge.
Pollock, Griselda (2006). "Feminist Dilemmas with the Art/Life Problem". In Bal, Mieke (ed.). The Artemisia Files: Artemisia Gentileschi for Feminists and Other Thinking People. Chicago: University of Chicago Press.
Solinas, Francesco; Nicolaci, Michele; Primarosa, Yuri (2011). Lettere di Artemisia: Edizione critica e annotata con quarantatre documenti inediti. Rome: De Luca. ISBN 9788865570524.
Straussman-Pflanzer, Eve (2013). Violence & Virtue: Artemisia Gentileschi's Judith Slaying Holofernes. Chicago: Art Institute of Chicago.
Zarucchi, Jeanne Morgan (1998). "The Gentileschi Danaë: A Narrative of Rape". Woman's Art Journal. 19 (2): 13–16. doi:10.2307/1358400. JSTOR 1358400.
Further reading
Barker, Sheila (December 2014). "A new document concerning Artemisia Gentileschi's marriage". The Burlington Magazine. Vol. 156, no. 1341. pp. 803–804.
Barker, Sheila (2017). Artemisia Gentileschi in a Changing Light. Harvey Miller Publishers.
Christiansen, Keith (2004). "Becoming Artemisia: Afterthoughts on the Gentileschi Exhibition". Metropolitan Museum Journal. 39: 101–126. doi:10.1086/met.39.40034603. S2CID 191428947.
Contini, Roberto; Solinas, Francesco (2011). Artemisia Gentileschi: storia di una passione (in Italian). Palazzo reale di Milano, Milan: 24 ore cultura.
Contini, Roberto; Solinas, Francesco (2013). Artemisia: la musa Clio e gli anni napoletani (in Italian). Roma, De Luca: Blu palazzo d'arte e cultura (Pisa).
Garrard, Mary D. (2005). Reclaiming Female Agency: Feminist Art History after Postmodernism. University of Californian Press.
Greer, Germaine (1979). The Obstacle Race: The Fortunes of Women Painters and Their Work. London: Martin Secker and Warburg.
Lapierre, Alexandra (2001). Artemisia: The Story of a Battle for Greatness. Vintage. ISBN 0-09-928939-3.
Locker, Jesse M. (2015). Artemisia Gentileschi: The Language of Painting. New Haven, Conn.: Yale University Press. ISBN 9780300185119.
Lutz, Dagmar (2011). Artemisia Gentileschi: Leben und Werk (in German). Belser, Stuttgart, Germany: Belser. ISBN 978-3-7630-2586-2.
Mann, Judith (2006). Artemisia Gentileschi: Taking Stock. Brepols Publishers. ISBN 978-2503515076.
Rabb, Theodore K. (1993). Renaissance Lives: Portraits of an Age. New York: Pantheon Books. ISBN 9780679407812.
Shulman, Ken (1 September 1991). "A Painter of Heroic Women in a Brawling, Violent World". The New York Times. p. H23.
Vreeland, Susan (2002). "The Passion of Artemisia". Headline Review. ISBN 0-7472-6533-X.
External links
The Life and Art of Artemisia Gentileschi
Paintings by Gentileschi
Brooklyn Museum Artemisia Gentileschi
Art History Archive Baroque Artemia Gentileschi
"Violence and Virtue: Artemisia Gentileschi's Judith Slaying Holofernes"
Artemisia Gentileschi Biography
10 Facts You May Not Know About Artemisia Gentileschi
Announcement of American Academy of Arts and Letters Award for Artemisia, the opera
Ary Scheffer (10 February 1795 – 15 June 1858) was a Dutch-French Romantic painter. He was known mostly for his works based on literature, with paintings based on the works of Dante, Goethe, Lord Byron and Walter Scott, as well as religious subjects. He was also a prolific painter of portraits of famous and influential people in his lifetime. Politically, Scheffer had strong ties to King Louis Philippe I, having been employed as a teacher of the latter's children, which allowed him to live a life of luxury for many years until the French Revolution of 1848.
Life
Scheffer was the son of Johan Bernard Scheffer (1765–1809), a portrait painter who was born in Homberg upon Ohm or Cassel (both presently in Germany; the latter has been spelled as Kassel since 1926) and moved to the Netherlands in his youth, and Cornelia Lamme (1769–1839), a portrait miniature painter and daughter of landscape painter Arie Lamme of Dordrecht, for whom Arij (later "Ary") was named. Ary Scheffer had two brothers, the journalist and writer Karel Arnold Scheffer (1796–1853) and the painter Hendrik Scheffer (1798–1862). His parents educated him and he attended the drawing academy in Amsterdam from the age of 11 years. In 1808 his father became the court painter of Louis Bonaparte in Amsterdam, yet his father died one year later. Encouraged by Willem Bilderdijk, Ary moved to Lille, France, for further study after the death of his father. In 1811 he and his mother, who greatly influenced his career, moved to Paris, France, where he studied at the École des Beaux-Arts as a pupil of Pierre-Narcisse Guérin. His brothers followed them to Paris later.
Scheffer started exhibiting at the Salon de Paris in 1812. He began to be recognized in 1817, and in 1819 he was asked to make a portrait of the Marquis de Lafayette. Perhaps because of Lafayette's acquaintances, Scheffer and his brothers were politically active throughout their lives and he became a prominent Philhellene.
In 1822 he became drawing teacher to the children of Louis Philippe I, the Duke of Orléans. Because of his connection with them, he obtained many commissions for portraiture and other work. In 1830 riots against the rule of King Charles X resulted in his overthrow. On 30 July, Scheffer and influential journalist Adolphe Thiers rode from Paris to Orléans to ask Louis Philippe I to lead the resistance, and a few days later he became "King of the French".
That same year, Scheffer's daughter Cornélia was born. He registered the name of her mother as "Maria Johanna de Nes", but nothing is known of her and she may have died soon after Cornelia's birth. Considering that his grandmother's name was "Johanna de Nes", it has been speculated that he kept the name of Cornelia's mother secret so as not to compromise the reputation of a noble family. Cornelia Scheffer (1830–1899) became a sculptor and painter in her own right. Scheffer's mother did not know of her namesake granddaughter until 1837, after which she cared for her until she died only two years later. Scheffer became an associate member of the Royal Institute of the Netherlands in 1846, and resigned in 1851.
Scheffer and his family prospered during the reign of Louis Philippe I, who abdicated on 24 February 1848. Scheffer and Hendrik were inundated with artistic commissions, and they taught numerous students in their workshop in Paris, so many that of the works produced during this period that bear his signature the number that he actually made himself cannot be verified.
Scheffer was elevated as commander of the Legion of Honour in 1848. As a captain of the Garde Nationale he escorted the French royal family in its escape from the Tuileries and escorted the Duchess d'Orléans to the Chambre des Députés, where she in vain proposed her son as the next monarch of France. Scheffer fought in the army of Cavaignac during the June Days Uprising in Paris of 23 to 26 June 1848. The cruelty and hatred that the governmental faction exhibited and the misery of the lower classes so shocked him that he withdrew from politics and refused to make portraits of the family of Napoléon III, who reigned after the Uprising. On 16 March 1850 he married Sophie Marin, the widow of General Baudrand, and on 6 November of that year he finally became a French citizen. He continued to frequently travel to the Netherlands, and traveled to Belgium, Germany, and England, but a heart condition impaired his activity and eventually caused his death in 1858 in his summer house in Argenteuil. He is buried in the Cimetière de Montmartre.
Works
When Scheffer left Guérin's studio, Romanticism had come into vogue in France, with such painters as Xavier Sigalon, Eugène Delacroix and Théodore Géricault. Scheffer did not show much affinity with their work and developed his own style, which has been called "frigidly classical".
Scheffer often painted subjects from literature, especially the works of Dante, Byron and Goethe. Two versions of Dante and Beatrice have been preserved at Wolverhampton Art Gallery, United Kingdom, and Museum of Fine Arts, Boston, US. His L'Enterrement de Jeune Pêcheur, illustrating a scene from Walter Scott's The Antiquary and taking inspiration from David Wilkie's Distraining for Rent, was exhibited at the Salon of 1824-25. Particularly highly praised was his Francesca da Rimini, painted in 1836, which illustrates a scene from Dante Alighieri's Inferno. In the piece the entwined bodies of Francesca di Rimini and Paolo Malatesta swirl around in the never-ending tempest that is the second circle of Hell. The illusion of movement is created by the drapery that envelopes the couple, as well as by Francesca's flowing hair. These two figures create a diagonal line that intersects the majority of the canvas creating not only a sense of movement, but also giving the painting an air of instability. Francesca clings to Paolo as he turns his face away in anguish. There are an additional two figures in the image: hidden in the background, the poets Dante and Virgil look on as they make their way through the nine circles of Hell.
Scheffer's popular Faust-themed paintings include Margaret at her wheel; Faust doubting; Margaret at the Sabbat; Margaret leaving church; The garden walk, and Margaret at the well. In 1836, he painted two pictures of Goethe's character Mignon: Mignon desires her fatherland (1836), and Mignon yearns for heaven (1851).
He now turned to religious subjects: Christus Consolator (1836) was followed by Christus Remunerator, The shepherds led by the star (1837), The Magi laying down their crowns, Christ in the Garden of Olives, Christ bearing his Cross, Christ interred (1845), and St Augustine and Monica (1846).
One of the reduced versions of his Christus Consolator (the prime version today to be found in the Van Gogh Museum, Amsterdam), lost for 70 years, was rediscovered in a janitor's closet in Gethsemane Lutheran Church in Dassel, Minnesota, in 2007. It has been restored and is on display at the Minneapolis Institute of Art.
Scheffer was also an accomplished portrait painter, finishing 500 portraits in total. His subjects included composers Frédéric Chopin and Franz Liszt, the Marquis de la Fayette, Pierre-Jean de Béranger, Alphonse de Lamartine, Charles Dickens, Duchess de Broglie, Talleyrand and Queen Marie Amélie.
After 1846, he ceased to exhibit. His strong ties with the royal family caused him to fall out of favour when, in 1848, the Second Republic came into being. Scheffer was made commander of the Legion of Honour in 1848, that is, after he had wholly withdrawn from the Salon. Shut up in his studio, he produced many paintings that were only exhibited after his death in 1858.
The works first exhibited posthumously include Sorrows of the earth, and the Angel announcing the Resurrection, which he had left unfinished. By the time of his death, his reputation was damaged and was further undermined by the sale of the Paturle Gallery, which contained many of his most celebrated achievements: though his paintings were praised for their charm and facility, they were condemned for poor use of color and vapid sentiment.