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The Metropolitan Museum of Art Bulletin. 29 (4): 165– 169. doi:10.2307/3258546. JSTOR 3258546. Greer, Germaine (January 1, 2001). The obstacle race: the fortunes of women painters and their work. London: Tauris Parke. ISBN 1860646778. OCLC 901247309. Garrard, Mary D. (January 1, 1980). "Artemisia Gentileschi's Self-Portrait as the Allegory of ...
It is one of a number of paintings of Gentileschi that focus on virtuous women ill-treated by men. The painting was painted between 1623 and 1625. It is currently in the collection of Gerolamo Etro, Milan. [1] It is one of several paintings of Lucretia that Gentileschi produced during her career. It is assumed that this is a self-portrait of ...
However, when women portray themselves, self-portraiture takes on additional meanings, often subverting social and artistic norms. For women artists, the practice of self-portraiture has historically represented a territory of claiming space in a predominantly male world, in which their contributions were often ignored or marginalized. [1]
Art historians have debated this portrayal of Danaë, with some noting an open, inviting posture, while others observe the clenched fist and closed legs. [5] Some scholars believe this painting refers directly to the rape the artist endured a few years prior, [3] while others argue that she rather had a sympathy for women victimized by unwelcome sexual pressures.
The Self Portrait of Italian baroque artist Artemisia Gentileschi was painted in the early 1630s. It currently hangs in the Palazzo Barberini, Rome. It is one of many paintings where Gentileschi depicts herself. Beyond self-portraits, her allegorical and religious paintings often featured herself in different guises.
Baroque art served as an extension of the influence of the Catholic Church, most often depicting historical and religious imagery through heightened realism. Judith is a figure that has been both embraced and rejected by the Catholic and Protestant denominations through time. [ 4 ]
The Self-Portrait as a Lute Player was created after Gentileschi was married and moved from Rome to Florence after a fourteen-month rape trial against Agostino Tassi. [9] [6] Self-Portrait as a Lute Player and other self-portraits of Gentileschi were painted for private collections and allowed her to express her wit and cultural knowledge. [6]
This is evident in her allegorical self portrait, Self Portrait as "La Pittura", which shows Artemisia as a muse, "symbolic embodiment of the art" and as a professional artist. [ 60 ] Before Artemisia, between the end of the 1500s and the beginning of 1600s, other women painters had successful careers, including Sofonisba Anguissola (born in ...