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				First published: September 1, 2024 - Last updated: September 1, 2024
			TITLE INFORMATION 
			
			Authors: Małgorzata Stępnik
			
 Title: “Grand Narratives” and “Personal Dramas”
 
 Subtitle: (Re)reading the Masterpieces by Artemisia Gentileschi
 
 Journal: arts
 
 Volume: 13
 
 Issue: 2
 
 Year: April 2024 (Received: November 21, 2023, Revised: February 2, 2024, Accepted: February 8, 2024, Published online: February 22, 2024)
 
 Pages: 15 pages (PDF)
 
 eISSN: 2076-0752 - 
					Find a Library: WorldCat
 
 Language: English
 
 Keywords: 
				Modern History: 
					17th Century | 
				European History: 
					Italian History | 
				Representations: 
					Art / 
						Artemisia Gentileschi
 
 FULL TEXT
 
			
			Links:
			- MDPI (Multidisciplinary Digital Publishing Institute) (Free Access)
 
 - ResearchGate (Free Access)
 
 ADDITIONAL INFORMATION
 
			
			Author:
				Małgorzata Stępnik, 
					Wydział Politologii i Dziennikarstwa (Faculty of Political Sciences and Journalism), 
					Uniwersytet Marii Curie-Skłodowskiej (Maria Curie-Sklodowska University) - 
					ResearchGate
			
 Abstract: 
				»This article discusses the œuvre of Artemisia Gentileschi, a prominent Baroque painter who was rediscovered by art historian Roberto Longhi in the 1910s. Today, her art is interpreted through various lenses, including art theory, women’s studies, and psychoanalysis. Gentileschi’s paintings are often “read” in close reference to her painful biography, with a focus on the “chiaroscuro” of trauma and its overcoming. Significantly, such biography-oriented approaches seem to be predominant in scholarship on art created by women. The argument presented is that Gentileschi’s works require a thorough re-reading free of “compulsive biographism”, as postulated by Salomon. The focus should shift from an empathic Einfühlung (or empathic projection) towards an objective analysis based purely on art-historical or sociological criteria. This article also explores the presence of the socially mediated and mediatised figure of the artist in fine literature (novels by Banti, Lapierre and Vreeland), cinematic biographies (Artemisia, directed by Merlet, documentaries (Artemisia Gentileschi: Warrior Painter, directed by River), anime (a series titled Arte, directed by Takayuki Hamana), and graphic novels (Ferlut and Baudouin; Siciliano). In this artistic constellation Artemisia is labelled as an art/feminist “icon”, a female genius, and as in numerous scholarly texts dedicated to her, “a victim”. I propose that the discussed literary and visual texts related to Gentileschi be interpreted as symptomatic (in line with Panofsky’s concept of ‘iconology’) of the contemporary mentality, which is filtered through feminist and subaltern thought.« 
				(Source: arts)
 
 Contents:
 
			
			
			|  | Abstract (p. 1) |  
			|  | 1. Introduction: La grande pittrice (p. 1) |  
			|  | 2. Traumatised Figures: Judiths and Susannas (p. 3) |  
			|  | 3. The Contemporary Faces of Artemisia (p. 9) |  
			|  | Notes (p. 11) |  
			|  | References (p. 13) |  
			|  |  | Filmography (p. 13) |  
			|  |  | Secondary Sources (p. 13) |  Wikipedia: 
				History of Europe: 
					History of Italy | 
				Art: 
					Artemisia Gentilesch
 |