Gentileschi suffered greatly in her life, but turned this into her art. Larry Keith, our Head of Conservation and Keeper, talks us through what he's found and what's next for our latest acquisition. How do we prepare a 17th century painting and its canvas to be relined and what does a moisture treatment entail? “Artemisia assumes the role of a fourth-century martyr saint who was tortured and ultimately died for her faith,” says Letizia Treves, the National Gallery’s James and Sarah Sassoon Curator of Later Italian, Spanish, and French 17th-century Paintings. The painting is in the National Gallery’s permanent collection, so you can learn all about it in detail on their website. Another of her paintings, “Judith Slaying Holofernes”, shows a man being aggressively pinned down by two women and decapitated by one with a sword. Es wurde zu Gentileschis Zeiten in Florenz gemaltund ähnelt ihrer Heiligen Katharina von Alexandria (um 1619), die sich heute in den Uffizien befindet . Wikimedia Commons. But to leave it at that would simply be a disgrace. “The painting was only discovered in 2017, when it came up for sale in France,” adds Treves.

It isn’t surprising that Gentileschi felt an affinity with her subject matter. If you find any joy and inspiration in our stories, with modest donation. You also have the option to opt-out of these cookies. Self Portrait as Saint Catherine of Alexandria, Members go free with unlimited visits and exclusive benefits, Bought with the support of the American Friends of the National Gallery, the National Gallery Trust, Art Fund (through the legacy of Sir Denis Mahon), Lord and Lady Sassoon, Lady Getty, Hannah Rothschild CBE, Mrs Mollie W. Vickers, the Hon. The Italian painter who overcame torture at the hands of the establishment, presents herself as a pillar of power. License and download a high-resolution image for reproductions up to A3 size from the National Gallery Picture Library. Carl Larsson, one of the most renowned Swedish painters nowadays, initially had no success in his own country. Also, Pablo Picasso’s genius as a painter and as a playwright. Artemisia Gentileschi was frequently her own model. Sentenced to death by the emperor Maxentius, Catherine was bound to revolving wheels studded with iron spikes. The portrait packs everything from ingenious techniques, remarkable portraiture and fascinating historic context.

Many of Artemisia’s paintings, in particular those depicting a strong female heroine, have often been read in biographical terms. Her right hand is pressed to her chest, emphasising her femininity, and the painting is striking for its beauty. Saint Catherine of Alexandria was another woman who endured horrific trauma; the wheel in this portrait was the instrument of her torture, yet she grips it and shows she's in control of her own story. There is also plenty of information on other aspects of Gentileschi’s life, including letters in her own hand that show just how passionate and determined she was as a woman as well as an artist. Baroque masterpiece to go on show next to pupils' GCSE artwork, Artemisia Gentileschi’s great work is more at home in a GP’s surgery than a gallery, National Gallery unveils Italian painting as 'Christmas gift to the nation', If an artist was raped – or a rapist – galleries should not hide the fact, National Gallery buys Artemisia Gentileschi masterpiece for £3.6m, The blazing masterpiece that could change the royal family's image. Hope you’re gonna love it! Photograph: © The National Gallery, … All rights reserved. Es befindet sich jetzt in der Sammlung der National Gallery in London , die es 2018 für 3,6 Millionen Pfund gekauft hat, darunter etwa 2,7 Millionen Pfund von der American Friends Group. {{#singleComment}}{{value}} comment{{/singleComment}}{{^singleComment}}{{value}} comments{{/singleComment}}. In the painting we can see the broken wheel, which incidentally is where the name for the Catherine Wheel firework comes from. Available for everyone, funded by readers, Artemisia Gentileschi’s 17th-century work to be displayed at secondary school in Newcastle, The National Gallery is restoring the link between art and real life, says art critic Jonathan Jones, Work by female Baroque artist Artemisia Gentileschi will go on ‘grand tour’, says gallery, Gentileschi’s painting shocks because we know its history. Earlier this month, a series of stained-glass windows designed by the German artist, now 88 years old, were installed at Tholey Abbey and in October, visitors will […], Theatre companies across the world are beginning to find ways to deliver performances to the public once again. After the trial Artemisia moved from Rome to Florence, where this painting was probably made. While Halifax, Nova Scotia wouldn’t be thought of as a spot known for any modern architectural marvels, the coastal city drew international attention for just that half a decade ago. Gentileschi was illiterate, and some scholars think that she used art to communicate her feelings about the world she lived in. Gentileschi’s mastery of sfumato, a technique where shades of paint are carefully blurred together, is seen in the hyperrealistic glow on her cheeks. This is the only painting by Artemisia Gentileschi in a UK public collection. She leans on a broken wheel studded with iron spikes, the instrument of Catherine’s torture and the saint’s standard attribute.

They almost always show women in action, asserting their agency and defying the patriarchal oppression of late 16th century Papal Rome. She leans on a broken wheel studded with iron spikes, on which she was bound and tortured, and which became her standard attribute in art. Chris Dobson is a postgraduate student of English Literature at the University of Glasgow.

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You may redistribute it, verbatim or modified, providing that you comply with the terms of … After the trial she married and moved to Florence, where this painting was probably made. And […], Every evening from October 1 until the end of the year, at precisely 20:20 GMT, Europe’s largest billboard will pause its usual advertising to take a non-commercial break devoted to art. Watch as Larry Keith, our Head of Conservation and Keeper, begins the task of retouching some of the areas of damage seen on Artemisia Gentileschi's 'Self Portrait'. When you come face to face with the work, you see a cherubic yet confident woman staring at you from the cropped canvas.

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