Self-portrait as the Allegory of Painting 1639

Known as ‘the most celebrated female artist of the seventeenth century’, Artemisia Gentileschi (1593-c.1654) here depicts herself as the personification of Painting (‘Pictura’) itself. What might this say about the role of women in the arts, at a time when professional opportunities for women were restricted? 🚫 In this 1639 oil painting, believed to have been created during Gentileschi’s visit to England, the artist depicts herself in profile. The three-quarter pose and asymmetrical composition are unconventional, creating an element of visual interest. Gentileschi gazes out of the canvas, presumably contemplating a canvas. She does not meet the viewer’s gaze, but rather adopts an active pose. Her arm is outstretched as she grips a paintbrush, while her head is slightly tilted. This symbolises an interplay between the physical and intellectual aspects of creation. 🖌️ The monotone brown of the background mimics an underpainted canvas, reinforcing Gentileschi’s active role in working on the unseen painting. The plain background directs attention to the figure of Gentileschi alone, awarding herself both visual and symbolic importance. By asserting her identity as an artist, Gentileschi defies the patriarchism of the seventeenth century art world. In a bold act of self-promotion, she challenges the conventional narrative of woman as muse. 🖼️ The dynamism of Gentileschi’s pose, as well as her naturalistic handling of light and shadow, characterises the drama of the Italian Baroque. She uses chiaroscuro, an intense contrast between areas of light and dark, to illuminate the paleness of her skin. Her face is striking against the darkness of the background; this once more places importance on the identity of the artist. 🧑‍🎨 Gentileschi accessed artistic training under her father, Orazio Gentileschi (1563-1639). Her vast successes and illustrious career subvert narratives of male genius. How do you interpret this self-portrait? 💭👇 Editor: Lucy Jude Grantham