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Artemesia Gentileschi: Queen of the Italian Baroque
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16622 |
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Section : |
THE ARTS
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| Issue
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10 / 1989 |
1,856 Words |
| Author
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Eric Gibson
Eric Gibson, art critic for the Washington Times, last wrote
on Henry Ossewa Tanner in the September 1991 issue of The
World & I. |
Mary D. Garrard's Artemesia Gentileschi: The Image of the Female Hero in Italian Baroque Art is, without question, an important work of scholarship. It brings before us in elaborate detail an artist who, though known to some degree, has never been the kind of household word that Caravaggio and now Guido Reni have become.
It is also important in another respect, however. Garrard's work is a monograph written from a feminist perspective by a member of the generation of feminist art historians that has come of professional age in the decade and a half since Linda Nochlin began her pioneering efforts in this area. (Garrard acknowledges her debt to this outlook and singles out her work on Gentileschi as something of a rite of passage.) Garrard's approach is happily lacking in the kind of tendentiousness often to be found in other works of this kind. If the book has its drawbacks, they are, for once, more to do with the subject than the method Garrard applies in bringing her to us.
Both as a woman and an artist, Artemesia Gentileschi cuts an intriguing figure. From the feminist point of view, she is almost too good to be true. Born in Rome in 1593 (she died in Naples in 1652), she was the daughter of Orazio Gentileschi, one of the most gifted of the Italian followers of Caravaggio. She began studying art at a very young age. At the age of nineteen, she was raped by one of her father's colleagues, who had been hired as an art teacher. Although he consoled her with empty promises of marriage, he was arrested and subjected to a lengthy trial, during which, apparently, the veracity of young Gentileschi's testimony was tested with a thumbscrew. Although her attacker-teacher was convicted, the event garnered her a reputation for promiscuity
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