Artemisia Gentileschi: The Language of Painting

2015 ◽  
Keyword(s):  
Artemisia Gentileschi

scholarly journals Father and Daughter across Europe: The Journeys of Clara Wieck Schumann and Artemisia Gentileschi in Fictionalised Biographies

2012 ◽  
Vol 1 ◽  
pp. 41-58 ◽  
Author(s):  
Julia Lajta-Novak
Keyword(s):  
Women Artists ◽  
Gender Relations ◽  
Personal Development ◽  
Early Age ◽  
Gender Aspects ◽  
Hybrid Genre ◽  
Artemisia Gentileschi ◽  
The Relationship

German pianist Clara Wieck Schumann and Italian painter Artemisia Gentileschi were both tutored by their fathers from an early age and made their mark as great European artists. Their art took them both across the continent, where they met many other famous historical persons. Their lives have not only been recorded in biographies but have also been retold in several novels, or ‘fictionalised biographies’. The fictionalised biography is an interesting hybrid genre, placed somewhat uncomfortably between historiography and the art of fiction, which permits it to disregard certain expectations raised by so-called ‘factual’ biographies (e.g. that authors should strive for ‘objectivity’ or ‘truthfulness’). The relationship between fact and fiction can thus be re-negotiated, following the author’s ideological inclinations and their imaginative closure of historiographical gaps. Beginning with some general remarks on fictionalised biographies of ‘exemplary women’, this paper then examines Janice Galloway’s Clara (2002) and Susan Vreeland’s The Passion of Artemisia (2002), focusing on the complex father-daughter relationships that Clara Wieck Schumann and Artemisia Gentileschi undoubtedly experienced, and which offered the authors ample ground for a critique of historical gender relations and hierarchies. The analyses will concentrate on the heroines’ journeys in Europe. The paper examines the ways in which the two fictional rewritings of historical women artists’ lives foreground gender aspects and make use of the narrative privileges of fictionalised biography to project contemporary feminist ideas onto historical characters and events, and explores the function of the featured European locales with regard to the protagonists’ personal development in the novels.The heroines’ ventures into foreign lands are revealed to function as an impulse towards a changing perception of their fathers as well as themselves.

Artemisia Gentileschi: The Image of the Female Hero in Italian Baroque Art

1990 ◽  
Vol 72 (3) ◽  
pp. 499
Author(s):  
Griselda Pollock ◽  
Mary D. Garrard
Keyword(s):  
Female Hero ◽  
Baroque Art ◽  
Artemisia Gentileschi

Artemisia Gentileschi-A New Documented Chronology

1968 ◽  
Vol 50 (2) ◽  
pp. 153 ◽  
Author(s):  
R. Ward Bissell
Keyword(s):  
Artemisia Gentileschi

Artemisia Gentileschi around 1622: The Shaping and Reshaping of an Artistic Identity

2002 ◽  
Vol 33 (2) ◽  
pp. 585
Author(s):  
Arthur J. Di Furia ◽  
Mary D. Garrard
Keyword(s):  
Artistic Identity ◽  
Artemisia Gentileschi

Une fiction de l'art au féminin: Artemisia et sa servante

2012 ◽  
Vol 51 (3) ◽  
pp. 314-329
Author(s):  
Nella Arambasin
Keyword(s):  
Artemisia Gentileschi ◽  
Theories Feministes

Artemisia Gentileschi n'est pas seulement une artiste femme reconnue parmi les plus grands peintres du dix-septième siècle, mais aussi le personnage récurrent d'œuvres littéraires et cinématographique de femmes auteures françaises contemporaines (Agnès Merlet, Alexandra Lapierre, Catherine Weinzaepflen, Michèle Desbordes). Ces fictions de l'art poursuivent un questionnement théorique du « gender » dans l'écriture et le cinéma, infléchissant la manière de mettre en récit une vie de femme artiste d'exception. En faire l'analyse permet de comprendre comment cette figure se joue, déjoue ou tombe dans le piège des stéréotypes identitaires, mais aussi de penser la création au féminin à la croisée d'une recherche transdisciplinaire en littérature, histoire de l'art et théories féministes. Le comparatisme ici engagé permet de dégager certains mythes, mais aussi une valeur anthropologique de la création féminine, dont l'indice dans les textes est la servante qui accompagne l'artiste. Car cette servante témoigne d'une culture du labeur, d'un savoir-faire et d'un mode d'existence domestique, qui met en abyme l'activité artistique féminine et ses propres procédures de création.

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