Artemisia Gentileschi, “Judith Slaying Holofernes” (1614-1620), oil on canvas, Uffizi Gallery, Florence
Artemisia Gentileschi:
Second Half of Her Career
Artemisia Gentileschi (1593-1656) was a Baroque painter known for her dramatic and powerful depictions of biblical and historical scenes and her ability to capture the emotional intensity of her subjects. Born in Rome to the painter Orazio Gentileschi, Artemisia’s artistic education began early, as her father recognized her talent and trained her in his studio. However, Artemisia’s life was marked by personal tragedy and professional challenges, including a high-profile rape trial that shaped her artistic style and reputation.
The period between 1612-1620 was known as Artemisia’s Florentine era. During this time, her work became more ambitious and expressive as she experimented with large-scale canvases and bold compositions. One of her most famous works from this period, “Judith Slaying Holofernes” (1614-1620), depicts the biblical story of Judith beheading the Assyrian general Holofernes. In Artemisia’s version, the scene is depicted with vivid realism and violence, with Judith and her maidservant struggling to hold down Holofernes as they hack off his head. The painting has been interpreted as a powerful feminist statement, with Judith standing in for Artemisia herself as a strong and capable woman.
Artemisia’s successful career in Florence helped lay the groundwork for meaningful relationships with other respected artists. She garnered influence nobility such as Cosimo II de Medici, the Grand Duke of Tuscany, and the Grand Duchess Christina of Lorraine.[1]. Artemisia’s participation in the sophisticated society of Florence granted her access to benefactors and expanded her knowledge and familiarity with the arts. She learned to readiand write and became well-versed in musical and theatrical presentations. These cultural displays significantly impacted Artemisia’s technique of portraying ornate clothing in her artwork.
F e a t u r e d B o o k
By 1620, Artemisia’s life was once again riddled with turmoil. She arrived in Rome only to have her father leave for Genoa. Her son, Cristofano, passed away. By 1623, any surviving documentation no longer mentions her husband.[2] Despite these challenges, Artemisia seized the opportunity to collaborate with other painters and seek patronage from the city’s extensive network of art collectors. As a result, her Roman career took off quickly, and her financial struggles eased. One such collector was Fernando Afan de Ribera, the third Duke of Alcala, who added the painting “Magdalen and David, Christ Blessing the Children” to his extensive collection.[3]
Artemisia Gentileschi, “Venus and Cupid” (1625-1630), oil on canvas, Virginia Museum of Fine Arts
In 1630, Artemisia moved to Naples, where she established herself as a successful painter, receiving commissions from prominent patrons such as Don Antonio Ruffo and the Viceroy of Naples. Artemisia’s time in Naples also saw her establish connections with the royal families of Europe, including the Medici in Florence and the English Stuart court. In 1638, she was invited to London by Charles I, who appointed her as the court painter, making her the first woman to hold such a position. While in London, Artemisia painted several portraits of the royal family, including a famous double portrait of Charles I and his wife, Henrietta Maria.
Despite her success, Artemisia’s life was marked by personal tragedy, including losing her husband and two sons to the plague. She also faced professional challenges, including discrimination as a female artist in a male-dominated field. Her rape trial in 1611, in which she accused her father’s colleague Agostino Tassi of raping her, also impacted her reputation and artistic style. As a result, many of her later works, such as “Cleopatra” (c. 1633–1635), are characterized by a sense of vulnerability and emotional intensity, reflecting the trauma she experienced in her personal life.
Artemisia’s “Cleopatra” is a captivating painting that captures the Egyptian queen in a moment of vulnerability and strength. The painting depicts Cleopatra on a luxurious bed. Her body is contorted in anguish as she looks at a venomous snake that had just bitten her arm. Yet, despite her physical pain, Cleopatra maintains her regal bearing and composure, conveying her determination to meet her fate on her terms.
Artemisia Gentileschi, Cleopatra 3, 1630, oil on canvas, private collection, Rome
Artemisia’s use of light and shadow adds depth and intensity to the painting. The light source appears to come from a window to the left of the canvas, casting a warm glow on Cleopatra’s face and highlighting the curves of her body. The contrast between light and dark is particularly striking in the folds of the rich fabric surrounding her, rendered with meticulous attention to detail.
The painting is a testament to Artemisia’s ability to capture emotional complexity in her subjects. Cleopatra’s contorted face conveys physical pain, deep despair, and introspection. The painting also reflects Artemisia’s interest in strong female figures, as Cleopatra is portrayed as a robust and resilient queen who faces her fate with grace and dignity.
Artemisia’s painting “Esther before Ahasuerus” is a beautiful and striking piece that portrays the religious story of Queen Esther. The painting depicts Esther standing before her husband, King Ahasuerus, as he accepts his scepter. Esther’s calm and confident expression, combined with their opulent clothing and surroundings, convey her power and agency in a male-dominated court. Artemisia’s use of light and shadow adds depth and contrast to the scene while highlighting Esther’s beauty and poise. “Esther before Ahasuerus” is a stunning example of Artemisia’s talent and fascination with strong female figures.
Artemisia Gentileschi, Ester Before Ahasuerus, 1628-35, oil on canvas, The Metropolitan Museum of Art, NYC
The period of Artemisia’s presence in London towards the end of the 1630s is a captivating yet enigmatic chapter in her career that exemplifies the breadth of her global recognition and the extent of her appeal to distinguished patrons. Artemisia joined her father, Orazio, in London, where they were both a part of the court of Charles I of England. Charles I was a notable arts patron who accumulated a magnificent assortment of European art and stimulated renowned artists to create masterpieces within his court.[4]
The two began painting the Great Hall’s ceiling in Queen Henrietta Maria’s home. “The ceiling, made up of this central tondo flanked by eight other canvases, celebrates her husband’s reign, King Charles I, for under his benign governance, Peace reigns, and the liberal arts flourish. All twenty-Moreover, all figures in the ceiling, apart from one, are female, embodying the power of women in a residence stamped with Henrietta Maria’s taste and patronage."[5] Artemisia likely had enough time to paint some of the muses and personifications of the arts on the outer canvases, such as the figures of Polyhymnia and Euterpe. These figures exhibit the dramatic chiaroscuro and powerful physiques characteristic of Artemisia’s style, which contrasts with her father’s refined and artificial style of painting. Additionally, some scholars have hypothesized that she may have painted figures in the central round.
Due to the ceiling’s current state, one can’t easily make definitive conclusions about Artemisia’s exact contributions. However, the ceiling was eventually transferred in the early 18th century to the Marlborough House in London, where it underwent a drastic size reduction. “The outer canvases were trimmed and space between figures reduced by cutting out sections resulting in a loss of perspective and distortions in scale. Incisions from the removal of sections are particularly evident in the sky. In addition, the ceiling has suffered substantial paint loss, probably caused by damp conditions, and has had several restoration campaigns, with much repainting. As a result, figures in the lower section of the composition are much better preserved with rich colors and a meticulous rendering of fabrics and details, such as the flowers and fruit of Victory’s cornucopia and the head of Medusa on Wisdom’s shield."[6]
Orazio & Artemisia Gentileschi, 1635-38, oil on canvas, mounted on board, Marlborough House
In 1639, Orazio passed away unexpectedly. Following her father’s death, Artemisia had commissions to complete, but there are no definitively attributed works from this period. It appears that Artemisia departed England by 1642 when the English Civil War began. After this period, finding information about her subsequent movements isn’t easy. What is known Is that she was in Naples as of 1649. This is corroborated by her correspondence with Don Antonio Ruffo of Sicily, who became her mentor during this second Neapolitan era.[7] The final letter between the two is dated 1650, documenting that she was still active up until this point.
Her final years were believed to be spent doing commissions, accepting one as late as 1654. (Historians initially thought that she had passed away in 1652 or 53.[8] By this point, Artemisia needed much help from her assistant, Onofrio Palumbo.[9] There is speculation that she may have perished during the destructive plague that ravaged Naples in 1656, decimatinga generation of Neapolitan artists.
Artemisia Gentileschi’s legacy as a trailblazing artist and feminist icon has endured. Her powerful depictions of female strength and agency inspire and resonate with audiences today. As art historian Mary D. Garrard has noted, “Artemisia was a woman who managed to succeed in a man’s world and to produce art that spoke to her own experience and the experiences of other women. In the end, it is this achievement that defines her greatness as an artist and as a woman."[10]
While Artemisia’s life and art were shaped by personal tragedy and professional success, her time in Naples, and London made her an influential and ambitious artist. At the same time, her connections to royal families across Europe cemented her status as a leading painter of her era. She remains a timeless and influential figure in art history.
Sources
[1] Cropper, Elizabeth (2020). “Artemisia Gentileschi: La Pittora”. Artemisia. London: National Gallery.
[2] Cropper, Elizabeth (2020). “Artemisia Gentileschi: La Pittora”. Artemisia. London: National Gallery.
[3] Cropper, Elizabeth (2020). “Artemisia Gentileschi: La Pittora”. Artemisia. London: National Gallery.
[4] https://artsandculture.google.com/story/artemisia-in-london-the-national-gallery-london/XAXR66TkHkBKOg?hl=en
[5] https://www.rct.uk/collection/408464/an-allegory-of-peace-and-the-arts
[6] https://www.rct.uk/collection/408464/an-allegory-of-peace-and-the-arts
[7] Bissell, R. Ward (1999), Artemisia Gentileschi and the Authority of Art: Critical Reading and Catalogue Raisonné, Pennsylvania University Press
[8] Lubbock, Tom (30 September 2005), "Great Works: Judith and her Maidservant", The Independent, London, p. 30
[9] De Vito, Giuseppe (2005). "A note on Artemisia Gentileschi and Her Collaborator Onofrio Palumbo". Burlington Magazine.
[10] Garrard, M. D. (2007). Artemisia Gentileschi: The Image of the Female Hero in Italian Baroque Art. Princeton University Press.
