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The Twentieth-Century Fabrication of “Artemisia” Britiany Daugherty University of Nebraska-Lincoln, [email protected]

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The Twentieth-Century Fabrication of “Artemisia” Britiany Daugherty University of Nebraska-Lincoln, Britianyd@Gmail.Com University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Theses, Dissertations, and Student Creative Activity, Art, Art History and Design, School of School of Art, Art History and Design Spring 4-20-2015 Between Historical Truth and Story-Telling: The Twentieth-Century Fabrication of “Artemisia” Britiany Daugherty University of Nebraska-Lincoln, [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/artstudents Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons, Art and Design Commons, Feminist, Gender, and Sexuality Studies Commons, Fine Arts Commons, and the Theory and Criticism Commons Daugherty, Britiany, "Between Historical Truth and Story-Telling: The wT entieth-Century Fabrication of “Artemisia”" (2015). Theses, Dissertations, and Student Creative Activity, School of Art, Art History and Design. 55. http://digitalcommons.unl.edu/artstudents/55 This Article is brought to you for free and open access by the Art, Art History and Design, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Theses, Dissertations, and Student Creative Activity, School of Art, Art History and Design by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. BETWEEN HISTORICAL TRUTH AND STORY-TELLING: THE TWENTIETH-CENTURY FABRICATION OF “ARTEMISIA” by Britiany Lynn Daugherty A THESIS Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Master of Arts Major: Art History Under the Supervision of Professor Marissa Vigneault Lincoln, Nebraska May, 2015 BETWEEN HISTORICAL TRUTH AND STORY-TELLING: THE TWENTIETH-CENTURY FABRICATION OF “ARTEMISIA” Britiany Lynn Daugherty, M.A. University of Nebraska, 2015 Advisor: Marissa Vigneault This research focuses on the twentieth century rediscovery of the seventeenth- century Italian painter Artemisia Gentileschi by scholars, novelists, playwrights, filmmakers, and artists. I argue that the various authors who told her story constructed two distinct “Artemisias,” what I identify as the “Academic Artemisia” and the “Celebrity Artemisia.” The “Academic Artemisia” results from writings by scholars focused on her 1610 Susanna and the Elders, who used approaches from formalism and connoisseurship, to feminism and iconography. The “Celebrity Artemisia” stems from popular fictions that refashioned the life and art of Artemisia according to pop culture tastes. Studying what has been said about Artemisia’s life – great woman artist in a time when patriarchy allowed few, survivor of rape, slandered in a public trial, married matron, and single mother – reveals why her story captivates art historians and fans, especially women who identify with her struggle. However, it is also made evident that while scholars are bound to the historical evidence, writers of fictional narratives in novels, plays, and the film have drastically revised “Artemisia” into a twentieth-century heroine. iii Dedicated to my Tim. Who felt all the stresses of this process as if they were his own. Thank you. iv ACKNOWLEDGEMENTS I would like to acknowledge Dr. Wendy Katz for pointing me in the right direction when I had no idea where to start and Dr. Andrea Bolland for helping me find the information I needed even when I was looking in the wrong places. I would like to thank Dr. Marissa Vigneault for encouraging me to think deeper, to keep making connections, and for advice in revising this thesis. Finally, I would like to thank my fellow MA students, Alex Alberda and Jackie Spackman, for going through this process with me, for listening to my ideas and complaints and providing a good laugh when desperately needed. v CONTENTS List of Illustrations vi Introduction 1 Chapter One 8 Rediscovering Artemisia 8 The Debated Susanna 18 The Feminist Artemisia 21 Three Susannas 38 Chapter Two 44 Artemisia and the Novel 48 Theatrical Representations 64 Cinematic Representation 70 Conclusion 79 Artistic Representation 79 Artemisia in the Documentary 82 Artemisia Beyond: What is left to come? 84 Bibliography 87 Images 95 vi LIST OF ILLUSTRATIONS 1. Artemisia Gentileschi, Susanna and the Elders, 1610. 95 2. Artemisia Gentileschi, Susanna and the Elders, 1622. 96 3. Artemisia Gentileschi, Susanna and the Elders, 1649. 97 4. Artemisia Gentileschi, Susanna and the Elders, 1610, signature detail. 98 5. Artemisia Gentileschi, Susanna and the Elders, 1610, at Pommersfelden. 98 6. Artemisia Gentileschi, Judith Slaying Holofernes, ca. 1620. 99 7. Caravaggio, Judith Beheading Holofernes, 1598-1599. 99 8. Orazio and Artemisia Gentileschi exhibition at the MET. 100 9. Artemisia Gentileschi, Susanna and the Elders, 1610, installed in the Orazio and Artemisia Gentileschi exhibition. 100 10. Artemisia Gentileschi, Susanna and the Elders, 1610, installed in the Women Artists: 1550-1950 exhibition. 101 11. Tintoretto, Susanna and the Elders, c. 1555. 101 12. Annibale Carracci, Susanna and the Elders, ca. 1590-95. 102 13. Domenichino, Susanna and the Elders, 1603. 102 14. Peter Paul Rubens, Susanna and the Elders, c. 1607. 103 15. Rembrandt, Susanna and the Elders, 1647. 103 16. Artemisia Gentileschi, Susanna and the Elders, 1610, detail. 104 17. Crouching Venus, 2nd century, Roman copy. 104 18. Orestes Slaying Clytemnestra and Aegisthus sarcophagus, ca. 150 CE. 105 19. Michelangelo, The Fall and Expulsion of Adam and Eve, 1508-11. 105 20. Artemisia Gentileschi, Judith and Her Maidservant, c. 1613-1614. 106 21. Artemisia Gentileschi, Allegory of Inclination, 1615-1616. 107 22. Artemisia Gentileschi, Judith and Her Maidservant, c. 1613-1614, detail. 108 23. Artemisia Gentileschi, Susanna and the Elders, 1610, detail. 108 24. Michelangelo, David, 1501-04. 109 25. Michelangelo, Doni Tondo, ca. 1504-1506. 109 26. Artemisia Gentileschi, Susanna and the Elders, 1652. 110 27. Artemisia Gentileschi, Judith Slaying Holofernes, 1612-13. 110 28. Artemisia poster and DVD cover, 1998. 111 29. Alternate Artemisia promotional poster, 1998. 111 30. Anna Banti, Artemisia cover, 1988. 112 31. Alexandra Lapierre, Artemisia cover, 1998. 112 32. Susan Vreeland, The Passion of Artemisia cover, 2002. 113 33. Sally Clark, Life Without Instruction cover, 1994. 113 34. Cathy Caplan, Lapis Blue Blood Red cover, 2004. 114 35. Artemisia Gentileschi, Self-Portrait as the Allegory of Painting, 1638-39. 114 36. Judy Chicago, The Dinner Party, 1974–79. 115 37. Judy Chicago, The Dinner Party, 1974-79, Artemisia’s place setting detail. 115 38. Kathleen Gilje, Susanna and the Elders, Restored, 1998. 116 39. Kathleen Gilje, Susanna and the Elders, Restored, X-Ray, 1998. 116 40. Kathleen Gilje, Susanna and the Elders, Restored and X-Ray, 1998. 117 1 INTRODUCTION My approach to Artemisia Gentileschi reviews the history of depictions of the Biblical Susanna, from Early Christian catacomb paintings, to seventeenth and eighteenth century paintings created at the height of popularity of the subject, and finally to later, less frequent depictions by modern artists such as Pablo Picasso.1 I wanted to understand Artemisia’s 1610 Susanna and the Elders (fig. 1) within this iconographic history, but in doing so, I became increasingly concerned with the language of the scholars who write on Artemisia and their relationship to popular media accounts. The changing art historical methodologies brought to bear on Susanna and Artemisia over the course of the twentieth century profoundly affected our popular modern myth of artistic genius. Artemisia painted at least three Susannas over the course of her career, others may be lost or attributed to other artists at this time: Susanna and the Elders (1610), Susanna and the Elders (1622) (fig. 2), and Susanna and the Elders (1647) (fig. 3). Nannette Salomon, in her 2005 essay “Judging Artemisia: A Baroque Woman in Modern Art History,” compares how scholars have analyzed all three differently. Salomon briefly reminds the reader how the personal vision or ideology of the art historian contributes, in some degree, to their interpretation of the artwork. Salomon asserts that, “Each reading has some validity. Together they are a sobering reminder of how personal vision is and of 1 While common practice is to refer to an artist by last name, I will refer to Artemisia Gentileschi interchangeably as Artemisia Gentileschi or Artemisia. I avoid calling her Gentileschi alone because of the confusion it may cause with her father, Orazio Gentileschi, who is frequently discussed in relation to Artemisia, especially in discussion of the 1610 Susanna and the Elders. Likewise, I refer to her father as Orazio Gentileschi or Orazio, rather than Gentileschi alone, to avoid confusion. 2 what we are doing when we “do” art history.” 2 Starting from this notion that all interpretation is done through the lens, or personal vision, of the author, in this thesis I unpack the representations of Artemisia that are present in academic and popular culture formats. My interest is in identifying the “Artemisia” constructed from the various voices. What I identify as “Artemisia” is not the historical seventeenth-century painter, but the fabrication of a dramatic woman painter who challenged social and professional traditions, and inspired scholars, writers, playwrights, directors, artists, and passionate fans centuries later. Before beginning to explore these fictional accounts, it is important to outline the known facts about the historical Artemisia Gentileschi. Artemisia
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