ニュー・ミュージアム・オブ・コンテンポラリー・アートのインスタグラム(newmuseum) - 12月16日 00時01分

Italian Baroque painter Artemisia Gentileschi rose to prominence during a period when artistic production was overwhelmingly dominated by male artists supported by their studios. Gentileschi’s selection of strong, heroic, female protagonists allowed her to explore women’s experiences and inner lives in a way that was highly uncommon at the time.

Painted over 400 years ago, Gentileschi’s portrait of Saint Catherine of Alexandria (ca. 1620) begins to tell @judy.chicago’s “Herstory” of art in “The City of Ladies” installation on the Fourth Floor. Using herself as a model, Gentileschi depicts the brilliant fourth-century theologian who was martyred for refusing to renounce her Christian faith and marry the Roman Emperor Maxentius.

The portrait takes on additional weight given that at the age of 17, Gentileschi was raped by her mentor Agostino Tassi, which led to a highly publicized trial. Though found guilty, Tassi was released by the judge, who ordered Gentileschi to be tortured as a means of proving her honesty. This portrait might therefore be read as an expression of Gentileschi’s own persecution and an assertion of defiant autonomy.

Artemisia Gentileschi, “Saint Catherine of Alexandria,” ca. 1620. Gallerie degli Uffizi @uffizigalleries

#ArtemisiaGentileschi #JudyChicagoHerstory

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