#5 Judith, Susanna, and Artemisia

What this episode covers

Who was Artemisia Gentileschi? Victim, hero, survivor. We love to remember her as all these things, but Abby wants us to remember her in another way, the way Artemisia herself saw herself: artist.Pieces of work referenced throughout this episode are available to view on our instagram: @herstoryproj. The main source used for this episode was Abby's 2022 dissertation, completed for their MA degree. A selection of key readings are listed below. As we state at the end of this episode, please feel free to contact us if you want to talk about anything we mentioned in this episode! ‘For the Curia and the State / Versus / Agostino TassiPainter / Before / The Illustrious and Excellent Lord Hieronimo Felicio / Locumtenente’ Notarised by Lord Decio Cambio Notary Procharitate, (Roman Court, 1612), English translation by Efrem G. Calingaert and provided in Garrard, Mary D., Artemisia Gentileschi: The Image of the Female Hero in Baroque Art, (Princeton, New Jersey: PrincetonUniversity Press, 1989), [Appendix B], pp.407-187Benedetti, Laura, ‘ReconstructingArtemisia: Twentieth-Century Images of a Woman Artist’, Bissell, R. Ward, ‘Artemisia Gentileschi – A New Chronology’, Cohen, Elizabeth, ‘The Trials of Artemisia Gentileschi: A Rape as History’ Dodds, C. ‘Female Dismemberment andDecapitation: Gendered Understandings of Power in Aztec Ritual’Heaton, Helena, ‘Artemisia Gentileschi was a feminist aheadof her time’Jay, Nancy, ‘Sacrifice as Remedy for having been born awoman’, in Castelli,E.A. (eds) Women, Gender, Religion: A ReaderLewis, Helen, ‘Isn’t She Good – For a Woman?’Mann, Judith W., ‘Caravaggio and Artemisia:Testing the Limits of Caravaggism’Mann, Judith W., ‘Identity Signs: Meanings and Methods inArtemisia Gentileschi’s Signatures’Migdol, Erin, ‘How Artemisia Gentileschi Broke the ‘DarkCeiling for Women Artists’Nochlin, Linda, ‘Why have there beenno Great Women Artists?’ Artemisia, Letizia Treves, (ed.)  (London: NationalGallery Company and Yale University Press, 2020), pp.78-89Bissell, R. Ward, Artemisia Gentileschi and the Authorityof Art, (Pennsylvania: The Pennsylvania University Press, 1999)Butler, Judith Gender Trouble: Feminism and the Subversionof Identity, (New York: Routledge, 1990)Cavazzini, Patriza, ‘Orazio and Artemisia: From ‘Such anUgly deed’ to ‘honours and favours’ at the English Court’, in Artemisia, Letizia Treves, (ed.)  (London: National Gallery Company and Yale University Press, 2020), pp.32-45Garrard, Mary D., Artemisia Gentileschi Around 1622: TheShaping and Reshaping of an Artistic Identity, (Berkley, Los Angeles, London: University of California Press, 2001) Garrard, Mary D., Artemisia Gentileschi: The Image of the Female Hero in Baroque Art, (Princeton, NewJersey: Princeton University Press, 1989)Greer, Germaine, The Obstacle Race: The Fortunes of WomenPainters and Their Work, (New York: Farrar Straus & Giroux, 1979)Heller, Nancy G., Women Artists: An Illustrated History, (NewYork: Abbeville Press, 1987)Hufton, Olwen, The Prospect Before Her, (London:Fontana Press, Harper Collins, 1997)Locker, Jesse M, Artemisia Gentileschi: The Language ofPainting. (New Haven, YaleUniversity Press 2015),Longhi, Roberto, Gentileschi:Padre e figlia, (Abscondita, 2011 [originally published 1916)Orazio and Artemisia Gentileschi,ed. Keith Christiansen and Judith W. Mann, (New York: The MetropolitanMuseum of Art, 2001), pp.249-261Pollock, Griselda, Differencing the Canon: Feminist Desireand the Writing of Art’s Histories, (London and New York, Routledge, 1999)Scott, Joan W., Gender and the Politics of History, (NewYork: Colombia University Press, 1999)Smith, Susan L., The Power of Women: A "Topos"in Medieval Art and Literature, (Pennsylvania: University of PennsylvaniaPress, 1995)Treves, Letizia, Artemisia, (London: National GalleryCompany and Yale University Press, 2020

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