5 Fast Facts: Artemisia Gentileschi

Impress your friends with five fast facts about Italian artist Artemisia Gentileschi (Rome, 1593–Naples? 1656), whose work is currently on view at NMWA in Picturing Mary.

1. Wunderkind
Gentileschi completed several of her best-known works, including Madonna and Child (Madonna col Bambino) (1609–1610) and Susanna and the Elders (1610) before her 18th birthday. Check out Madonna and Child at NMWA in Picturing Mary: Woman, Mother, Idea, December 5, 2014–April 12, 2015.

Artemisia Gentileschi, Madonna and Child (Madonna col Bambino), 1609–10; Oil on canvas, 46 1/2 × 33 7/8 in.; Galleria Palatina, Palazzo Pitti, Florence; inv. 1890 no. 2129

Artemisia Gentileschi, Madonna and Child (Madonna col Bambino), 1609–10; Oil on canvas, 46 1/2 × 33 7/8 in.; Galleria Palatina, Palazzo Pitti, Florence; inv. 1890 no. 2129

2. Baroque, not Broke
Considered the only female artist to follow the tenets of Caravaggism (after Caravaggio), Gentileschi skillfully depicted extreme contrast between light and dark in works like Judith and Holofernes. This ability to evoke drama caught the eye of wealthy patrons including King Philip II (Spain) and Charles I (England).

3. Mistaken identity
Artemisia trained and worked side-by-side with her father, Orazio, in his painting studio. Owing to their similar aesthetic and entwined professional relationship, scholars today disagree on the attributions of many works from the Gentileschi workshop.

4. In the stars
Gentileschi led a progressive life for a woman of her time by sustaining a career independent of male oversight. Finding a kindred spirit in the unconventional Galileo, she befriended the famed astronomer while living in Florence and maintained their relationship through letter-writing.

5. Wanderlust
Gentileschi lived and worked in Florence, Naples, London, and Rome. Gentileschi’s legacy lives on in these cities, all of which are home to works by her hand. Stateside, you can see her paintings at the Metropolitan Museum of Art, Columbus Museum of Art, and Detroit Institute of Arts.

—Adrienne Gayoso is associate educator at the National Museum of Women in the Arts.

There’s something about Mary . . .

Tomorrow, December 5, the National Museum of Women in the Arts opens Picturing Mary: Woman, Mother, Idea. This new exhibition explores the concept of womanhood represented by the Virgin Mary—who has for centuries been viewed as an ideal figure by Christians—as well as the social and sacred functions her image has served. Visit the museum to encounter this iconic figure through more than 60 Renaissance- and Baroque-era artworks.

Artemisia Gentileschi, Madonna and Child (Madonna col Bambino), 1609–10; Oil on canvas, 46 1/2 × 33 7/8 in.; Galleria Palatina, Palazzo Pitti, Florence; inv. 1890 no. 2129

Artemisia Gentileschi, Madonna and Child (Madonna col Bambino), 1609–10; Oil on canvas, 46 1/2 × 33 7/8 in.; Galleria Palatina, Palazzo Pitti, Florence; inv. 1890 no. 2129

How did artists represent this figure of “ideal” femininity? How did Mary’s depiction change over time? From a queenly, exalted figure in the medieval era, to a human and nurturing mother in the Renaissance, each image reflects its society and time.

These works, from the Vatican Museums, Uffizi Gallery, and other museum, church, and private collections in Europe and the United States, are presented in six thematic sections. Mary is shown as a daughter, cousin, and wife; the mother of an infant; a bereaved parent; the protagonist in a rich life story developed through the centuries; a link between heaven and earth; and an active participant in the lives of those who revere her.

Sandro Botticelli (Alessandro Filipepi), Madonna and Child (Madonna col Bambino), also called Madonna of the Book (Madonna del Libro), 1480–81; Tempera and oil on wood panel, 22 7/8 × 15 5/8 in.; Museo Poldi Pezzoli, Milan; inv. 443

Sandro Botticelli (Alessandro Filipepi), Madonna and Child (Madonna col Bambino), also called Madonna of the Book (Madonna del Libro), 1480–81; Tempera and oil on wood panel, 22 7/8 × 15 5/8 in.; Museo Poldi Pezzoli, Milan; inv. 443

This exhibition examines Mary from a historical perspective, with works by male and female artists. Paintings by Sofonisba Anguissola, Artemisia Gentileschi, Orsola Maddalena Caccia (an Ursuline nun who ran a bustling painting studio in northern Italy), and Elisabetta Sirani highlight women artists’ images of Mary. Their works are featured alongside treasured paintings, sculptures, and drawings by Fra Filippo Lippi, Botticelli, Michelangelo, Pontormo, Giovanni Battista Tiepolo, and others.

From altarpieces to monastic houses, to intimate figures used for personal worship, Picturing Mary illuminates many facets of the familiar Madonna figure.

A different variety of Madonnas appear in NMWA’s first-ever online exhibition, A Global Icon: Mary in Context, which showcases a broader artistic landscape. As Christianity spread to new areas of the world, due to missionaries, colonialism, and many other factors, Mary’s image spread, too, reflecting a profusion of diverse aesthetic traditions.

Visit NMWA before April 12, 2015, start online, or check out the varied talks, workshops, and programs on the calendar for Picturing Mary.