A pro since age 15 in a profession and era nearly completely dominated by men, Artemisa Ghentileschi (1593 –1656) was the daughter of a famous painter, Orazio Ghentileschi, who believed in her superior talent. She became a successful artist on her own in Rome and Florence.

The Ghentileschi (or Gentileschi) are Caraviaggisti, disciple of Caravaggio and of the Tenebrist school. Artemisia is more of a body, face and hands specialist than a drapery or landscape artist.

The degree to which Gentileschi‘s many depictions of scandalous and murderous women are self-portraits is ambiguous and much debated. Is she the model for Salome and Judith, Mary-Magdelene or Cleopatra?

First, two self-portraits of her younger days:

A common theme may be detected in the following paintings. There are more of these by Ghentileschi.

Artemisia was a friend (some say more) of Galileo Galilei. She wrote this letter to him, a good example of what the business side of the profession entailed at the time.

“On October 9th 1633, she wrote to her friend Galileo Galilei asking for his help in securing a response from Duke Ferdinand the Medici to a painting she had sent him describing herself as the Duke‘ s vessel and servant. She writes she has fulfilled her obligation to him by giving him her work, in other words the painting is in itself a payment from a social inferior, and so no payment is due in reply. What she does anticipate however is a favor from the Duke as a demonstration of his pleasure and his failure to respond is humiliating. “I have seen myself honored by all the kings and rulers of Europe to whom I have sent my work, not only with great gifts but also with the most favoured letters which I keep with me. Among these, without exaggeration, she lists the Kings of France, Spain and England and the Duke of Guise, “none of whose favours however could match that which she expects from her natural Prince in Tuscany.”

Found in MOMA- Orazio & Artemisia Gentilesci.