During the 17 th century, women had limited power and resources. This meant that their role in economic and political structures was not acknowledged. During this period, professions were closed to women, therefore, they were not allowed to become doctors, lawyers, or engage in any other profession. However, Artemisia Gentileschi overcame these challenges to engage in the world of art and developed into a renowned artist. Through her example, other women rose up to the challenge and established themselves in different professions. As such, this paper emphasizes that Artemisia was a painter who successfully spread her message of feminism through her artwork.
Although eminent in her era, Artemisia Gentileschi’s prominence had faded into relative oblivion around the start of the 18th century. However, after the Second World War, a rebirth of concentration in the Italian Baroque, restored her prestige. Gentileschi has subsequently turned into something of a distinct case for women activists, elated to find a woman artist of the top order from that era (Joanna, 2012). An artist whose distinctive effort, coupled with prominent depictions of female characters inspired them to follow suit. In fact, Gentileschi stands out as one of the most determined feminists who overcame great opposition to establish the massive potential among women artists.
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As a strong feminist artist, it is worth noting that Gentileschi’s paintings strongly awakened women to rise above the unfair male subjugation and claim their identity as well as capabilities. Her works caused conflicts as the male painters still considered painting as an exclusively male affair. What is more is that Gentileschi painted women facing tough circumstances, simply for standing up to defend their femininity (Zutter, 2012). She depicted such conflicts resonated strongly with other women’s experiences and served as a wake-up call. A notable example of the effects of the struggles encountered by the female characters depicted in Gentileschi’s paintings was the matching societal conditions that faced the women artists of Chicago. This effect ultimately inspired the determination to form a women artists’ community among the Chicago women painters.
Notably, one of Gentileschi's paintings is named Susannah and the Elders. The painting stems from one of the books of Apocrypha, the Book of Susannah. As per the narrative, Susannah, a resident of Babylon is in her garden bathing in the company of two maids. She directs her two maid servants to bring perfumes and oil for her bath, leaving her alone in the garden. It is at this time that two elders lustfully spy on her as she is bathing (Joanna, 2012). Before long, they impose sexual demands on Susannah, with expectations that she would submit to their demands. However, when she refuses to yield to their sexual advances, and when Susannah rejects them, they make threats of condemning her as an adulteress, charges whose punishment is death. Following the false accusation, Susannah is swiftly sentenced to death. However, Daniel interrogates each of the elders individually, probing them to reveal the tree under which Susannah enticed them. Since every elder mentions a different tree, Susannah’s innocence is revealed and she is deemed blameless.
The painting depicting Susannah inspired the women of Chicago to pursue their talents in painting, forming a group named Artemisia. In the same way that Susannah fights back sexual harassment, the women who established Artemisia resolved to defy to their suppression in the world of art. The feminist impact of Gentileschi's paintings made the women to realize that a feminist approach would be essential to defuse the male power that upholds constructs of patriarchal authority. Through openly presenting their protest, they aroused conflicts that made them to face a trial resembling Susannah’s trial. Falsehood manifested as they were framed as offenders while they were victims of the societal constructs. Nevertheless, the protests were not carried out by lone individuals like Susannah. Rather, they formed a united force and acquired physical space in arts, boosting their efforts in eliminating women subjugation.
The long term effect of Gentileschi's paintings is depicted in the modern exhibitions such as the Paris's Musee. Through the exhibitions, it is proves beyond all doubts that Gentileschi’s paintings and her reputation can stand alone, without any endorsements. What is more is that in the Paris's Musee, the exhibition's planners appear fervent in taking advantage of the more opera-like features of Gentileschi's life through naming the show 'Artemisia: The Power, Glory and Passions of a Woman Painter' (Platzer, 2012). Although she suffered much tribulations, including rape by a male artist, Gentileschi remained relentless in her quest to rise above oppression. In fact, not long after the incidence, Gentileschi skilfully and with an outstanding sense of colour painted Judith, a biblical heroine, decapitating Holofernes, the Assyrian general hence articulating her resolve to end female subjugation.
Fields J. (2012) indicates that women painters have excelled in producing exquisite works of art, a feature that took ground following the 17 th century women painters’ protests. Although modern art competitions have yet to set up a task for the artists to craft feminist art, it has provided a platform for female painters to focus on femininity issues through their art works. A notable museum in pushing forward paintings by female artists is The Brooklyn Museum of Arts. Notably, this museum has a centre for showcasing feminist art and prominently features the works of outstanding feminists such as Artemisia Gentileschi. Moreover, the feminist art movement's effect is evidently existent in the aesthetics and styles maintained in the show. As such, the effect of Artemisia’s efforts continues to inspire the women of modern times as depicted in their art works.
In her paintings, Gentileschi displayed heroines engaging in violent acts which typically represent the difficulties that female painters faced in standing out for their position in the society.
Morris, (2016) extends his line of thinking into the scientific field where women have performed well and gained due recognition for their feats. He acknowledges that just like art, science and academic research areas stood out as privileges reserved solely for male members of the society. It took the efforts of women activists to refuse to comply with the status quo and forge a new way forward. A major inspiration for this movement was Artemisia Gentileschi who refused to be pushed aside just for being female. Having set the pace, other women embraced the move to stand against oppression and reach their full potential in their respective fields. A notable woman is Catherine Benson who overcame all odds to become the first woman to attain a bachelor’s degree in 1840. Over the years, the effect of feminist movements was felt when Marie Curie became the first woman to win the Nobel peace prize for her work in physics in 1903.
In conclusion, the distinguished work of Artemisia Gentileschi stands out to date as a great influence in awakening women to stand up for their rights. Focusing on the concept of feminism , various scholars and academicians indicate the role that Artemisia played in promoting the status of women in society. Further, the author s outline that women served as significant instruments of promoting feminism in the 17 th and 18 th centuries as imitators of Gentileschi’s example . The significance and reputation of the paintings that Artemisia made particularly considering that she highlighted female characters in her art remain relevant to the artists of modern day. Furthermore, her role in promoting and supporting femininity in the society in the 17 th century extended to other careers such as research and academics.
References
Fields J. (2012). Frontiers in Feminist Art History. Journal of Women Studies , 33(2): 1-21
Joanna G. (2012). Artemisia Challenges the Elders: How a Women Artists' Cooperative Created a Community for Feminism and Art Made by Women. Journal of Women Studies , 33(2): 55-75
Morris C.P. (2016). Feminist Art. The Wiley Blackwell Encyclopedia of Gender and Sexuality Studies , 1(7): 1-6
Platzer D. (2012). Feminist icon? David Platzer salutes an exhibition that demonstrates the greatness of Artemisia Gentileschi--in both her painting and her life. Apollo , 3(1): 22-34
Zutter J. (2012). Artemisia Gentileschi: Storia di unapassione (Milano, Palazzo Reale, 23 September 2011–29 January 2012). Journal of the Society for Renaissance Studies, 27(1): 133-140
