Artemisia Gentileschi Used Art To Avenge Her Rape
Since the 1970s, the work of Italian Baroque painter Artemisia Gentileschi has seen a surge in popularity due to her unique perspective as a female artist of the 17th century. Artemisia Gentileschi stands out not only for her remarkable talent and unprecedented popularity, but also for the tumultuous events she experienced and the enduring relevance of her narrative.
Born in Rome in 1593 as daughter to the artist Orazio Gentileschi, and a follower of his friend Caravaggio, Artemisia established herself as one of the first recognized female artists in the male-dominated art world of her era. Known for depictions of assertive women drawn from both mythology and biblical narrative, she challenged traditional representations that often relegated them to passive roles.
- Christine de Pizan, 15th-Century Feminist and Social Commentator
- Juana Ines de la Cruz – 17th Century Philosopher, Composer, and Poet Who Spoke For Women’s Rights
Self-portrait by Artemisia Gentileschi. (Public domain)
The Sexual Assault of Artemisia and her Unthinkable Trial
Aside from her artistic achievements, Artemisia is widely recognized for an intense public trial that sent shockwaves through 17th-century Rome. Having been sexually assaulted as a teenager by artist Agostino Tassi, her father pressed charges when the assailant refused to marry her and restore the family name.
The trial, which lasted from April to November in 1612, exposed her to a series of degrading events as Artemisia faced the scrutiny of a legal system largely controlled by men. Besides humiliating examinations, Artemisia had to undergo sibille torture in front of her rapist, a type of Renaissance-era thumbscrew or lie detector test where rope was wrapped around fingers and pulled tighter and tighter to elicit confession.
When pressed on the veracity of her accounts, she screamed; “ E vero, e vero, e vero” (It’s true, it’s true, it’s true). Court transcripts in Rome’s Archivio di Stato also reveal her eloquent voice as she looked at Tassi and stated, “This is the ring that you give me, and these are your promises.” Although Tassi was found guilty, he was set free thanks to personal connections to the Pope.
Judith Slaying Holofernes, by Artemisia Gentileschi circa 1611. This painting is believed to be a self-portrait, representing the revenge of Artemisia after her rape by Italian painter Agostino Tassi. (Public domain)
Artemisia’s Art as 17th-Century Feminism?
At a time before “feminism” had a name, Artemisia sought retribution using her art to challenge societal expectations, explore themes of sexual violence and the myth of female inferiority. In one of her most memorable paintings, from around the time of her assault and when she was still a teenager, Artemisia depicts a fictitious revenge on her assailant through the biblical narrative of Judith and Holofernes.
Her bold rendering of iconic women is visible in many of her paintings while research has revealed the same temperament in the way she conducted business. In one letter to a Sicilian patron in 1649 she wrote; “I will show Your Illustrious Lordship what a woman can do.” Feminist scholars have contended that through her art, Artemisia helped redefine the role of women in Renaissance society.
Top image: Susanna and the Elders, by Artemisia Gentileschi in 1610. Source: Public domain
