To continue to write on these pages, I decided to "tell" a character that I like very much, ecom as a woman artist Artemisia Gentileschi. Artemisia was a woman who dared to go against the conventions of his time, who knew how to create a career, earn recognition in a very masculine and macho.
Artemisia Gentileschi is one of the few female protagonists of the history of European art. It is also the protagonist of a gloomy or cloudy each other, rather, "Caravaggio", peppered with elements of romantic, erotic, pathetic and fantastic, a brilliant novel fusion in short Artemisia is the ideal protagonist of the novel ideal (and In fact, many novels and movies were inspired by his life). Certainly the career (like any other career) was almost impassable at that time for women, forced to the extent that the company required them: the limits of a cultural nature, or almost total absence of educational attainment, and family. Artemisia Gentileschi, who was able to bring in his talent, was one of the few women escaped through the meshes of this rigid social system, but its painful private matter has often overlapped with that of a painter. In the seventies of last century, its popularity has reached the summit largely because of the affair, which saw her accused rapist (Enough to submit to the crushing of the thumbs, the sibyl coseddetta to confirm the credibility of his allegations, which for her, a painter, had to be not only physical pain). Artemisia has thus become the symbol of feminism and the desire to rebel against the male power: but this fact gave her a great wrong: you have moved the attention to the story of rape, overshadowing his professional merits, now widely recognized by critical.
experienced during the first half of the seventeenth, taken by her father Orazio designed the clear penalty, triggering a strong emphasis on dramatic recovery from the works of Caravaggio, loaded with theatrical effects, which contributed to the style diffusione del caravaggismo a Napoli, città in cui si era trasferita dal 1630. Nata a Roma nel 1593, Artemisia mostrò ben presto un talento precoce, che venne nutrito dallo stimolante ambiente romano e dal fermento artistico che gravitava intorno alla sua
casa, frequentata assiduamente da altri pittori, amici e colleghi del padre. La prima opera attribuita alla diciassettenne Artemisia è la Susanna e i vecchioni del 161o. La tela lascia intravedere come, sotto la guida paterna, Artemisia, oltre ad assimilare il realismo del Caravaggio, non sia indifferente al linguaggio della scuola bolognese, che aveva preso le mosse da Annibale Carracci. Per la critica è stato impossibile non associare la pressione esercitata Susanna from the two old men on the complex relationship with the father of Artemisia and Agostino Tassi, a painter who raped her in 1611. The father complained that the rates after the violence had not been able to "fix" a shotgun wedding. Process that followed has been thorough documentary evidence, which is striking for the harshness of the minutes of Artemisia and inquisitorial methods of the court. The trial (which ended with a mild condemnation of 
rates) had great influence on key feminist reading, given the figure of Artemisia Gentileschi. The painting, which depicts Judith Slaying Holofernes , impressive for the violence of the scene that depicts, was interpretata in chiave psicologica e psicanalitica, come desiderio di rivalsa rispetto alla violenza subita. Dopo la conclusione del processo, Orazio combinò per Artemisia un matrimonio con Pierantonio Stiattesi. A Firenze Artemisia conobbe un lusinghiero successo. Nel 1616 venne accettata nell'Accademia delle Arti e del Disegno, prima donna a godere di tale privilegio; dimostrò di saper tenere buoni rapporti con i più reputati artisti del tempo e di saper conquistare i favori e la protezione di persone influenti. Tra i suoi estimatori ebbe un posto di speciale rilievo Michelangelo Buonarroti il giovane, il nipote di M 
ichelangelo: impegnato a celebrare la memoria dell'illustre antenato, questi affidò ad Artemisia l'esecuzione di una tela. La tela in questione rappresenta una Allegoria dell'Inclinazione (ossia del talento nat 
urale). Nel 1621 Artemisia lasciò il marito e tornò a Roma con le figlie. Artemisia dimostrò di avere la giusta sensibilità per cogliere le novità artistiche e la giusta determinazione per vivere da protagonista questa straordinaria stagione artistica di Roma, lanciata verso i virtuosismi del barocco e meta obbligata di artisti di tutta Europa. Tra il 1627 ed il 1630 si stabilì, forse alla ricerca di migliori commesse, a Venezia: lo documentano gli omaggi che ricevette da letterati della città lagunare che ne celebrarono le qualità di pittrice. Nel 1630 Artemisia si recò a Napoli, valutando that there could be, in the thriving city of yards and enthusiasts of fine arts, new and richer employment opportunities. The artistic debut of Artemisia in Naples is represented perhaps the Annunciation Museum Capodimonte.Poco later moving to the city of Naples was final and there would have been the artist, unless the English in brackets, for the rest of his life. Naples was then a sort of Artemisia for second home where she received certificates in high esteem and had trade relations on a par with the major artists who were present. In 1638 Artemisia joined her father in London, at the court of Charles I, where Orazio became court painter. After so long, and father daughter found themselves in a relationship of artistic collaboration. Horace died unexpectedly, assisted by his daughter, in 1639. Charles I was a fanatic collector and fame of Artemisia was curious about it: it is no coincidence that this was in its collection a painting by Artemisia highly suggestive the self-portrait as a painting . At the first signs of civil war, Artemisia left England and returned to Naples where he died in 1653. In the twentieth century, during the years of the feminist movement, the Gentileschi became a real international symbol of feminism: the associations and cooperatives are entitled: (a Berlin hotel "Artemisia" is only open to customers female), recognizing it as a cult figure, both as a representative of the right to identify his own work, both as a paradigm of suffering, the affirmation and independence of women. Please note debater and leader of the international feminist movement Germaine Greer Artemisia Gentileschi was the great painter of the war between the sexes. This reading is one way the artist has just created resentment among art historians, such as statements of fact is extremely reductive with such talent as a painter Artemisia can not merely an ideological message .
is where the strength of the cadres of the Gentileschi: nel capovolgimento brusco dei ruoli. Una nuova ideologia vi si sovrappone, che noi moderni leggiamo chiaramente: la rivendicazione femminile.
Roland Barthes (saggista e critico letterario di orientamento strutturalista)
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