“It’s an image I’ve
seen hundreds of times—as misandrist memes across the internet, a patch on the
back of my partner’s denim jacket, to list a few iterations—but witnessing
Artemisia Gentileschi’s Judith
and Holofernes in person at the Seattle Art Museum last weekend still sparked
a visceral reaction.”
Vansynghel reports on the
“badass” PNW artists who received prestigious Creative Capital
grants, including J Mase III and Lady Dane Figueroa Edidi.
“To him, the
preprogrammed voice trapped in a mass-market workhorse metaphorically resonated
with the life of the average Korean millennial. The ironic sadness of being
comforted by a product of a system that creates the discomfort in the first
place seemed ripe for dramatic inquiry.”
“In an election
year in which the country is bitterly divided between those for and against
President Donald Trump, and over who is welcome to immigrate and become a
citizen, it seems likely to resonate.”
One of the few successful female painters of her time, Gentileschi’s famous painting is hanging at SAM in Flesh and Blood, an exhibition of Renaissance and Baroque paintings. Judith and Holofernes provides one of the characters from the play, Blood Water Paint, recently restaged at Seattle’s 12th Ave Arts Studio by Macha Theatre Works. Playwright Joy McCullough‘s YA novel adaptation of Blood Water Paint won the 2019 Washington State Book Award and we couldn’t pass up the chance to bring these actors into the galleries to recreate a scene for you!
See this important artwork at SAM during Flesh and Blood, on view January 26. This exhibition offers a rare opportunity to experience the fierce beauty of art from the 16th and 17th centuries. Renowned Renaissance artists such as Titian and Raphael join Baroque masters including Artemisia Gentileschi, Jusepe de Ribera, Guido Reni, and Bernardo Cavallino to reveal the aspirations and limitations of the human body and the many ways it can express love and devotion, physical labor, and tragic suffering.
Based on true events, Blood Water Paint unfolds lyrically through interactions with the women featured in Artemisia’s most famous paintings and culminates in her fierce battle to rise above the most devastating event in her life and fight for justice despite horrific consequences.
Macha Theatre Works is a fearless female non-profit arts organization showcasing exceptional artists, delivering innovative education programs, and staging new theatrical works that feature strong female characters.
“Within the piece,
I was more mindful of my steps because of the way the mesh was ever so slippery
beneath my boot. I became aware of a slight unease at being so close to a
skylight I’d admired from the concrete floor below.”
Paul Laster writes about Do Ho Suh’s work for White Hot magazine, including past presentations at SAM and his theme of displacement. The artist’s Some/One will be a centerpiece of Be/longing at the Asian Art Museum.
conversation, Gates seems to envision a city-sanctioned and -funded memorial.
‘I want to believe that the city is open to it,” he said. “I believe Samaria
has the right to ask the city to receive this sacred space.’”
If you haven’t heard, Artemisia Gentileschi’s renowned painting Judith and Holofernes is currently hanging at SAM as part of Flesh and Blood: Italian Masterpieces from the Capodimonte Museum. This particular painting by Gentileschi has gotten a lot of attention in recent years as discussions of representation of women in the arts as well as rape culture have become part of mainstream media. A graphic novel, I Know What I Am: The Life and Times of Artemisia Gentileschiby Gina Siciliano was recently published by Seattle-based Fantagraphics. This Pacific Northwest illustrator and author conducted research for seven years to offer a picture of Italy’s cultural climate in the 17th century as well as an unflinching look at Gentileschi’s life whose artistic success and documented rape trial have cast her as a feminist hero in her time, one that we can still learn from today.
After giving a talk on the Contemporary Resonance of Artemisia Gentileschi at the opening of Flesh and Blood with Chiyo Ishikawa, SAM’s Deputy Director for Art and Curator of European Painting and Sculpture, and Estelle Lingo, Professor of Early Modern European Art at University of Washington, we wanted to learn more about her enthralling graphic novel. Done entirely in ballpoint pen, the book is an education in world history that is full of drama, tragedy, and passion. Italian artists in the 1600s don’t seem too hesitant about stabbing each other. Read below for more information on this talented author, feminism, and the figure of Gentileschi. If you’re planning to visit the exhibition to see Gentileschi’s painting, come on Thursday, November 21 and take a tour of the galleries with Gina!
SAM: What drew you
to Artemisia? When did you realize you were making a book-length work?
Gina Siciliano: I knew immediately that I was going to make a
graphic novel about Artemisia, right when I was introduced to her work in art
school, and then when I first saw the Judith painting in the Uffizi back in
2007. When I was ready, I broke the story into three parts and dove in, piecing
her life and times together in chronological order. Initially I wasn’t going to
extend it all the way to the end of her life, but I changed my mind. I decided
to make a full biography because I sensed a lack of older women characters in
movies, novels, comics, media, and our culture in general. It feels like once
women reach a certain age they’re just thrown out of the picture or relegated
to stereotypes, and it became important to rise against that.
What’s one piece of
information that got you really excited when you found it?
There were so
many exciting discoveries throughout this process, it’s very difficult to
choose just one example! When Jesse Locker’s book came out in 2015 that
completely changed the third part, and also when Elizabeth Cohen wrote about
the recently discovered handful of letters written by Artemisia and Pierantonio
to Francesco Maria Maringhi around 1620. They haven’t been entirely translated
into English, but Cohen revealed snippets of Artemisia’s writing in English,
and it was intense and wonderful to get a sense of Artemisia’s voice at that
point in her life. I got chills reading about her breakdown after the death of
her children and during her harrowing journey back to Rome. I rearranged that
whole section of the book after that. I’m also currently very excited about
Sheila Barker’s new scholarship on Artemisia.
But if I had to
pick the most exciting discovery of all it would be the 1647 revolt of
Masaniello! Rosario Villari’s book on the subject was a landmark for me, and
since there’s so little information in English I read his book several times,
taking extensive notes. I was struck by the Neapolitan people’s desperation,
and the way they repeatedly rose up violently against severe oppression and
corruption. I was startled to learn that Artemisia survived a ten-month
revolution, and it had barely been mentioned in my sources at all.
There seem to be
many versions of Artemisia’s life. The details of female life were not much
documented at the time so how did you decide to present the version of her life
that you did?
The goal was to stay as historically accurate as possible and invent as little as possible. I was influenced by Alexandra Lapierre’s approach. She spent five years doing research in various Italian archives, then strung together the holes in the information—the gaps in history—with fiction. Rather than project my own agenda onto Artemisia or use her story as a jumping-off point for my own artistic expression, I wanted to find out as much as I could about Artemisia—how she felt, how she lived, how she interacted with others. I see her as inseparable from Italian history. I wanted to re-create her world, and then put her into it. The goal was to put her life and work into context, not take her out of context. That being said, of course, bits of myself and my own outlook slipped in all over the place. But I included a big notes section, to show the reader that we’ll never know exactly what happened—all we can do is continue to discuss how we come to conclusions, how we piece together history based on a variety of sources, ideas, and perspectives. My version of Artemisia is based on academic research, as well as my personal, emotional connection to her work.
What about the
decorative symbols and icons in the full-frame character illustrations?
Each one of these
full-page portraits is comprised of Renaissance and Baroque symbolism, and also
my own impressions. Each one has its own mood, based on the character’s role in
the story. Some of these people—Caravaggio, Orazio, Artemisia, Galileo, the
Duke of Alcala, Masaniello—we know quite a bit about, so I had a lot to work
with. For example, Masaniello was a fisherman, so there are fish surrounding
him, Galileo has a diagram of the Copernican view of the cosmos above him, etc.
For these people, I used images of them from their own time to re-create how
they looked. But other figures—Loredan, Arcangela Tarabotti, Tuzia Medaglia,
Giovanni Battista Stiattesi, Artemisia’s daughters—are more mysterious. I had
to do more inventing and cobbling together whatever scraps of information I
could, to show what they might’ve looked like.
There isn’t space here to describe all the symbolism, but I’ll give a few examples: Artemisia’s daughters are shown with large, rounded, upright vessels—a common Renaissance symbol for chastity and sexual purity, whereas a spilled, horizontal vessel was a symbol for sex and impurity. The Duke of Alcala is surrounded by fig trees—lush and full of fruit—a Renaissance metaphor for sexuality again, in this case, male virility. Pierantonio stands below two bull skulls, alluding to his being a cuckold (Loredan’s epitaph about Artemisia on page 224 claims that she carved the horns of a cuckold for her husband). The glowing candles foreshadow Pierantonio’s later night-time swordplay. The characters with close ties to the Medici—Francesco Maria Maringhi, Christine of Lorraine, Maria Maddalena of Austria, Galileo—all feature the Medici’s famous logo/crest—a group of small, round, fruit-like balls. Loredan’s portrait is surrounded by water since he serves as an introduction to Venice, and below him is the logo of his famous academy (the Incogniti)—the mysterious Nile River, the source of which was still unknown at the time.
Can we have a
feminist hero and still have context and historical time and place?
My book is meant
to present a loud and enthusiastic YES to this question!
Will you talk a bit
essentially an earlier version of feminism. To me, the best biographies don’t
idolize or sentimentalize the subject, nor do they gloss over the
inconsistencies and contradictions of a person. Rather, they go deep into
history and analyze their subject’s position, and all the potential factors
that made them who they were. I love Paul Avrich’s writing about anarchists for
this reason. I’m also reading Lily Tuck’s wonderful biography of Elsa Morante.
Elsa Morante was an incredibly independent Italian woman, one of the first to
wear pants! At the same time, Tuck mentions how Morante chastised another woman
for having hairy armpits and sometimes scorned the feminist movement. I tried
to be open to these types of contradictions when writing about Artemisia too.
There’s reason to believe that Artemisia was a militant Catholic who didn’t
always treat her servants very well. But she also wrote about the disadvantages
she faced as a woman, she refused to let Agostino Tassi (the man who raped her)
off the hook during the trial, and we know that she worked within the same
circle as the Venetian Libertines who talked a lot about the roles of women
(the querelle des femmes). We can judge Artemisia by the standards of her own
time, and we can judge her according to the standards of our time. I think
there’s room for both.
Proto-feminism didn’t look like our modern first-, second-, or third-wave feminism. There wasn’t a political movement, it was more social. There was an ongoing intellectual debate about women and plenty of writing about women’s rights. Most of the early modern feminist writers made their point by listing numerous examples of virtuous women from the bible and ancient history and mythology, as these were the touchstones of Italian humanist and Counter-Reformation thought. Sometimes they listed contemporary examples too. But, as powerful as these lists of women were, they also conformed to the proper (men’s) definition of honorable women. Even the most outspoken feminists of the time, like Arcangela Tarabotti, used only the most chaste, angelic examples of women to argue for women’s rights. But she was trying to refute the prevailing notion that women’s sexuality was toxic, out of control, and evil (Eve and the original sin, remember?). Her argument that women are inherently pure and chaste seems weird to us (like we don’t even get to have our own sexuality?), but in that intensely Catholic environment it makes sense. That’s only one aspect of her writing, and I would argue that her feminism is still important.
Likewise, we can see that the powerful Medici women—Christine of Lorraine and Maria Maddalena of Austria—were, like most queens and noblewomen, arranging marriages within their courts to solidify their family’s (and their own) wealth and power. But this doesn’t negate the radical way in which they intervened to prevent domestic violence, and their attempts to give women some say in who they would marry. That meant a lot within a society where marriage had very little to do with choice, especially among the upper classes.
At first glance,
Artemisia’s world looks like a grim, unrelenting, misogynist hell hole, but
when we look closer and dig deeper, we can see that women (and men) were
pushing back against the status quo in all kinds of ways. The fact that so many
powerful men got behind Artemisia, aided her career, and continually bailed her
out (Orazio, Francesco Maria Maringhi, Cassiano dal Pozzo, Galileo, etc.) also
says a lot. These men probably saw her as an exception to the norm—an
exceptional woman—rather than seeing women collectively as equals. Artemisia
probably saw herself as an exception to the norm too, and probably capitalized
on that to a certain extent. But I still think the roots of feminism lie in
these early attempts to widen the expectations of what women were capable of.
Plus, there’s still so much we don’t know. Feminist scholars are trying to
bring a lot of buried, unknown, misattributed, and misrepresented women’s
writing, art, and music to light. This is an ongoing process, an ongoing
What is your
favorite Artemisia painting?
Oh geez, I don’t know! I guess the second Judith Slaying Holofernes in the Ufizzi. There’s just nothing else like it in the world.
– Chelsea Werner-Jatzke, SAM Content Strategist and Social Media Manager
Images: Gina Siciliano, I Know What I Am: The Life and Times of Artemisia Gentileschi. Seattle, Fantagrahics Books, 2019.
something else about being close to it, the actual object, which Gentileschi
made with her own hands, just as Judith carried out Holofernes’s death with her
hands. A Google image search doesn’t cut it. The power of the painting—and the
perspective given through it—must be experienced in the flesh.”
“There’s a lot that
the visitor can’t see that is just as important: all the infrastructure that
makes this historic jewel a thoroughly modern museum, equipped to safely
display delicate artworks,” [SAM Director and CEO Amada] Cruz said. “The reimagined
building will allow us to better fulfill our mission to connect visitors to the
art and cultures of Asia.”
“[An earlier show]
also unveiled an important new body of research revealing an unknown
relationship between the two artists, who first met in the early 1930s and,
despite having a 20-year age difference, formed a strong bond, writing to each
other often about their artistic creations and arguing over the return of realism
after World War II.”