Discovering the Humanities

Discovering the Humanities

Discoveringthe Humanities

Introductionand thesis

Indeed,Artemisia Gentileschi was not, in any way, considered a typical womanduring her time. Artists and writer have not been able to fit in herposition in the traditional stereotypes of feminism. Her paintingworks show no sign of the expected feminism gracefulness anddelicateness. However, her portrayals of female characters asconfrontational and expressive in a powerful manner, and notably,most them were victims. Whereas she dreamed of being a wife of greatpainter in her life, she was overwhelmed by her own will, and throughself-promotion and sheer energy force as well time consuming work, she ended up being a reverse during her time.

Itis not novel to consider evaluation and research in the feminismarea, however, what is novel is the connection between the art worksand feminism. What struck in the feminism are the dynamic andmagnetism characters of women artists like Artemisia Gentileschi, whohas impressive personalities to be emulated. Importantly, feminismhas words that are strong enough to be mentioned to a system of arteducation that is believed to be antiquated for all students, andparticularly for female students.

WhyArtemisia Gentileschi is considered an early feminist

ArtemisiaGentileschi was a skilled painter in depicting the humanity in theinteraction drama. Her individual portraits resound with greatimportance that is beyond the fashionable resemblance, demonstratingsensibility and energy beyond the individual situation bounds.Artemisia Gentileschi was confined by paintings, nonetheless, shemade her vision upon herself for a space. For the modern woman, sheportrays the female correspondent of an ancient Master. Despite herexceptional for all rules, she paid the price as well.

Moreover,Artemisia Gentileschi is believed to have been one of the earlyfeminists since she is considered to have had a huge influence on theNeapolitan school of painting, which was only preceded by Caravaggio.Her expertise as well as powerful chiaroscuro use gave her paintingwork good attention an eerie silence. Additionally, her use oflighting in her painting works gives strong contrast in folds andclothing, while creating a delineated highlights and shadows.

ArtemisiaGentileschi is also considered an early feminist due to herpersonality that was considered colorful as well as her proficiencyat excellent conversation. In addition to her adeptness, she was asuperb love letter writer, despite her introduction into the loveworld through rape by her father’s associate, who was a painter aswell. Her success of putting Agostino Tasso, her rapper, behind barsindicates her champion for feminism. Indeed, she was strong enough toget married and moved to Florence to protect her reputation.Furthermore, she becomes an Academy member, which was uncommon honorfor a woman of her own time, while establishing successful career forherself.


JesseLocker. (2015). ArtemisiaGentileschi: The Language of Painting.New Haven: Yale University Press.

Inthis nonfiction book, which is based on the experimental research,Jesse Locker attempts to evaluate Artemisia Gentileschi’s life andascertaining whether she was one of the early feminists in thehistory of humanities. The author beautifully and elegantlyillustrates the revolutionary perspective of Artemisia Gentileschicareer, while refuting ancient assumptions about the artist. WhileArtemisia Gentileschi was semi-illiterate, the author stresses thesignificance of orality in her paintings by arguing for hersignificant position in the cultural discourse of the 17thcentury.

WardBissell. (2013). ArtemisiaGentileschi and the Authority of Art,&quotArtemisiaGentileschi:Painterof Still Life’s: Penn State University Press.

WardBissell’s book gives a though and proper evaluation of the majorincidences in Artemisia’s life and her career, including her rolesin the modern feminism. The Author discusses important evidences,through patterns of her paintings as well as the previous research.Indeed, the book is accompanied by ancient pictures, black and white,of appropriate artifacts. Moreover, majority of the conclusions inthe book are well supported by widespread archival document registersas well as by the very fundamental of the study: including thecatalogue raisonné of Gentileschi’s autography works, with each ofthe 57 photographs investigated intensively as to the basic factualinformation. The author further interprets the text through properanalysis of the available evidence and explaining her standing withpatrons and artist of her time.