Annotated Bibliography Work of Artemisia Gentileschi, Renaissance Artist

Annotated Bibliography Work of Artemisia Gentileschi, Renaissance Artist

ANNOTATED BIBLIOGRAPHY 1

Annotated Bibliography: Work of Artemisia Gentileschi, RenaissanceArtist

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Annotated Bibliography: Work of Artemisia Gentileschi, RenaissanceArtist

ArtemisiaGentileschi is an instance of female visual artists whose work isvalued among feminist art writers and critics. Artemisia has alwaysbeen a figure of controversies despite her artistic talent. Forexample, the historical representation of her rape trial presents apolemic interpretation demonstrating her as a victim or aprovocateur. Many scholars and literature have portrayed her as apawn, a slut, a martyr, a heroine as well as an ambitiousmarket-savvy profiteer. Therefore, the true identity and legacy ofArtemisia remains masked in the countless conflicting biographicalelucidations imposed on her art and her person. The paper willexamine annotated bibliography on Artemisia’s artistic works aswell as her life. The paper argues that Artemisia is considered as anearly feminist because her art represents her early life experiencethat is experienced by most women in the world.

Gerrard, M., D.(1980). Artemisia Gentileschi’s self-portrait as the allegory ofpainting. The Art Bulletin 61(1): 97-112. Retrieved fromhttp://www.jstor.org/stable/3049963

This article is aconcern with the power and position of a feminist in the society.According to Gerrard, the painting may have been recognized earlierif it had been painted by man because women at Artemisia’s era werenot likely to be noticed for brilliant artistic talent. Gerrarddistinguished Artemisia’s painting from the male painting bypointing out the female characteristic of the painting. Unlike themale paintings that separated two themes of allegory and subject,Artemisia’s painting combined these themes to form apersonification. During Artemisia’s era, male figures representedthe artisans instead of personifying the art.

In Artemisia’work, “model, painter, and concept are the same thing” (p.106).Artemisia is engaged in her painting act that she barely notice herlosing gold chain and her hair locks. According to the painting, theartist (herself) did not need recognition. Instead, the art ensuredthe highest recognition in pursuit of intellectual.

Benedetti, L (1999).Reconstructing Artemisia: Twentieth-century image of a woman artist.Comparative Literature, 51(1): 42-61

Benedetti presentsArtemisia`s life dramatization and art in a mainstreamed culture.Artemisia emerged from being a victim of rape and subjected to thelaws of a male commanded society to be marked as an insubordinatefigure with whom a contemporary woman can be recognized. She foughtoff the assault endeavor of Tassi, wounding him in the process shebattled against the customs of male overwhelmed artistic calling,turning into the first female admitted to the Accademia del Disegnoin Florence and she battled against the desires that she ought to beless than an extraordinary painter basically on the grounds that shewas a lady, apparent in the letter to supporters she deserted (45).

Pollock, G. &ampHarris A. S. On Griselda Pollock, (1984) “Women, Art and Ideology:Questions for feminist art historians.” Women’s Art Journal,4(2): 53-54

This articleprovides experiences encountered with feminist artists in Artemisiaera. During this period, women were excluded from the study of lifedrawing thus hindering them from developing historical painting as itwas considered a “masculine” style and the highest of the variousgenres. Painting of life images as well as nude figure assisted theartist to depicts the country patrons as gods, goddesses or as heroicfigures. During these times, female artists painted landscapes andportraiture. Scholars held less respect for these feminist paintersbecause they did not require intelligence or artistic expertise.Women in Artemisia’s period were perceived as intelligent andsubjected to flights of fancy, and inferior to men. During this time,there a myth that intellectual work could damage the womanreproductive organ as well as health that lead to the belief thatintellectual painting presented a danger to feminist artists.

Conclusion

ArtemisiaGentileschi has achieved recognition by hurdling obstacles toaccomplish her goals. She transgressed the boundaries of femaleaccepted professional during her life and work. Artemisia Gentileschihas proved to women that creativity and lack of educational resourcescould not prevent them from becoming experts in their own rights.