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Artemisia Gentileschi, ‘Self-Portrait as the Allegory of Painting’, ca. 1639, Royal Collection Trust
Artemisia Gentileschi, ‘Self-Portrait as the Allegory of Painting’, ca. 1639, Royal Collection Trust
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Self-Portrait as the Allegory of Painting, ca. 1639

Oil on canvas
38 × 29 in
96.5 × 73.7 cm
Location
London, Edinburgh, Windsor
About the work
Medium
Painting
Image rights
Source: Wikimedia Commons / Public Domain
Artemisia Gentileschi
Italian, 1593–1653
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A legendary figure and one of the first female artists to pursue a career on the same terms as men, Baroque painter Artemisia Gentileschi’s work is often overshadowed by the conflicting narratives that surround her, especially her rape by a colleague of her father at the age of 17 and the notorious trial that followed. Like her father, Orazio, with whom she trained, Gentileschi painted in the style of Caravaggio, illuminating her subjects with powerful stage lighting to heighten effects of emotional drama. Her figures were mostly heroic women drawn from history, mythology, and religious subject matter, including Cleopatra, Lucretia, and Mary Magdalene, often depicted nude and eroticized. Gentileschi’s most famous work, Judith Slaying Holofernes (c.1614–20), is notable for its brutality combined with a masterful rendering of flesh tones and fabrics.

Artemisia Gentileschi, ‘Self-Portrait as the Allegory of Painting’, ca. 1639, Royal Collection Trust
Artemisia Gentileschi, ‘Self-Portrait as the Allegory of Painting’, ca. 1639, Royal Collection Trust
Save
Save
View
View in room
Share
Share
Save
Save
View
View in room
Share
Share
View more
About the work
Medium
Painting
Image rights
Source: Wikimedia Commons / Public Domain
Artemisia Gentileschi
Italian, 1593–1653
Follow

A legendary figure and one of the first female artists to pursue a career on the same terms as men, Baroque painter Artemisia Gentileschi’s work is often overshadowed by the conflicting narratives that surround her, especially her rape by a colleague of her father at the age of 17 and the notorious trial that followed. Like her father, Orazio, with whom she trained, Gentileschi painted in the style of Caravaggio, illuminating her subjects with powerful stage lighting to heighten effects of emotional drama. Her figures were mostly heroic women drawn from history, mythology, and religious subject matter, including Cleopatra, Lucretia, and Mary Magdalene, often depicted nude and eroticized. Gentileschi’s most famous work, Judith Slaying Holofernes (c.1614–20), is notable for its brutality combined with a masterful rendering of flesh tones and fabrics.

Self-Portrait as the Allegory of Painting, ca. 1639

Oil on canvas
38 × 29 in
96.5 × 73.7 cm
Location
London, Edinburgh, Windsor
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Self-Portrait
Self as Subject