The 17th-century artist Artemisia Gentileschi, who was raped as a young woman, is often portrayed as a two-dimensional mythological figure—a victim exacting revenge through brushwork. Her personal history paints a more complex portrait.
A raft of recent papers by academics, however, have objected to portraying Artemisia as if she herself were a two-dimensional mythological figure—a victim exacting revenge through brushwork. As more of her personal history is unearthed by scholars, a more complex picture emerges. And Artemisia’s art is increasingly being appreciated for the knowingness with which she made use of elements of her life—not just sexual violation but also motherhood, erotic passion, and professional ambition.
She would have learned to reproduce her own features, too, with the use of a mirror. The fact that Artemisia’s female characters often are, like her, russet-haired, with full cheeks, has led many of her paintings to be described as self-portraiture. Even Artemisia’s male figures have sometimes been linked with the female visage characteristic of her work.
The Roman archive contains trial transcripts for other women who were raped. Elizabeth Cohen, a scholar who has examined the transcripts, argues that the crime of rape had a different cultural connotation than it does now, and was understood less as a violent act against a woman than as a besmirching of her family’s honor. Cohen contends that characterizations of Artemisia as an outraged proto-feminist, with even her early art expressing enraged resistance, are anachronistic.
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