Self-Portrait as a Female Martyr

An inscription on the reverse confirms that it is painted by the artist Artemisia Gentileschi.[2] The inscription is written in Italian which Inscribes: Di Mano di Artemisia figlia di A.rili.Lomi/Pisano Nipote di Orzio.[2] This roughly translates to: Di Mano di Artemisia daughter of A.rili.Lomi/Pisano Grandson of Orzio.[2]

There has been much debate over whether Gentileschi had painted herself or a specific saint.[2] It was noted by Keith Christiansen that the painting had to be a self-portrait of the artist instead of a Christian saint because of the physical features in the self-portrait.[2] The description of the woman’s bow lips, the dip in the nose, and round face are identical to Gentileschi’s features.[2] These features were also similar to another one of Gentileschi's paintings she made around this time period, Allegory of Inclination.[2] Lastly, Gentileschi's use of rose drapery and lapis blue paint is similar to the paint in Mary Magdalene, another of Gentileschi's works of art as well.[2] This concluded the discussion of this painting being a self-portrait.

The artist depicts herself in the style of a martyr, which can be seen with the yellow palm frond in her hand.[4] The depiction of palm fronds was a way to symbolize said martyrdom.[5] This representation goes back as early as the Revelation in the Christian bible.[5] If the palm frond was not there, the self-portrait of a woman martyr would turn into just a regular self-portrait painting.[5] It was very common in the seventeenth century for women to be painted as biblical female martyrs; because paintings of woman were meant to emit innocence, having saint like features and doing saint like acts was seen as the ideal woman.[5]

Enrica Guerra suggested that the awkward proportion of the hand in comparison to the head suggests that it may have been added at a later stage.[4] The only major change besides the hand in the painting is that Gentileschi painted a turban on the woman, though it is unknown when this change occurred.[2] It was very popular for many artists at this time to depict their self-portraits with a turban, but this was not done to depict a certain saint.[2] Since the painting does not appear to have been cut down in size, the painting is also accurate to what Gentileschi painted.[1] It is unusual in this time period for there to be a painting of a martyr that lacked the attribute of a specific saint in the painting.[1] Artemisia Gentileschi painted self-portraits as several different people in many of her artworks, such as the Self-Portrait as the Allegory of Painting, Self-Portrait as a Lute Player, and Self-Portrait as Saint Catherine of Alexandria yet this was the only Gentileschi did where she depicted herself as the saint.[1]

This painting is a Baroque artwork. In the seventeenth century, Baroque could be seen as any medium of art from painting, sculpting, ceramics, to many more.[7] Baroque art is also used in many Catholic settings, such as churches, and is used in public domains.[7] The art represented important moments in the Bible that were revered, and artists would be hired to paint certain saints.[7] The goal was to have the onlookers be filled with emotion while looking at the pieces.[7] Baroque art was even used in political religious settings.[7] This particular baroque painting is believed to have been made during the artist's time in Florence, based on both the appearance as well as some supplier records discovered in archives.[4] The date is recorded as 1614 but since the new year in Florence did not begin until March the date is technically 1615.[2] The work is signed "Artemisia Lomi", the name she assumed while working in Florence to associate herself with her uncle Aurelio Lomi, who had already established a reputation there.[1] Yael Evan mentions that Gentileschi desired to be treated as if she was a male painter.[8] During this time period, women were not allowed into any academy of arts.[8] Being seen as a male painter in that century would have been a great honor.[8]

The artist, Gentileschi painted this portrait depicting herself as a female martyr when she was twenty-two.[9] Helen Clements describes Gentileschi’s painting as portraying herself in a gentle and more intimate manner.[9] Clements commented on the way Gentileschi looked in the painting mentioning that the women looks very soft.[9] There is no pity emitting from the painting.[9] Clements examines the theory that Gentileschi was painting herself as a martyr saint to reflect how she felt when she was raped as a teenager years before.[9] She concludes that Gentileschi's portraits revealed that she did not want to have her past be one of pity and dismay; she denounces the theory that Gentileschi painted herself as a martyr only because of her famous past.[9] Susanna Scarparo portrays Gentileschi as a painter that struggled to be recognized for her skill in the arts rather than being famous for what happened to her in her past.[10] She critiques how previous writing on Gentileschi focused on this rather than her artwork.[10] Gentileschi is one of only a few famous female artists recognized in the 17th century and the first Italian women to specialize in Italian painting.[8] Gentileschi's one of many great achievements was being the first women to join Florence’s Academy of Design.[11] Over the years Gentileschi has made many self-portraits and painted mostly only women in different environments, but only one of her as a martyr.[10]

The painting was originally made in Florence. The painting was in the collection of Ignazio Hugford, who lent it to an exhibition in Florence in the 1760s.[1] The painting was in Hugford's possession until 1779.[2] Later on, the painting was in the collection of Martha Beavan née Wallaston of Leintwardine, Herefordshire.[1] At one point Newhouse Galleries had this painting in a private collection in 1995.[2] The self-portrait was sold at Sotheby's London December 9, 1987.[1]

• List of works by Artemisia Gentileschi