In this book by the Guerilla Girls (2006), they first give historical context of what was going on in terms of the art world in the Renaissance. They discussed the process for artists and how they go through apprenticeships, guilds, then later creating their own ateliers or workshops (Guerilla Girls). However, women during this time “were barred from painters’ guilds or academies…couldn’t receive commissions or legally own an atelier” (p.29). Women during this time were basically second class citizens, and had little power over their own lives, considered unintelligent and inferior. The closest chance a woman could get to be an artist during this time needed to have was to be born in that environment and give free labor to work in the shop (p. 29).
Later on in this chapter, the Guerilla Girls (2006) give short snippets of female artists who allowed to have careers and even highlighted a city in Italy called Bologna, where “Women were admitted to its university beginning as early as the 13th century and were even permitted to lecture there” (p. 30). Cities like this that were so liberal for its time were few and far in between. But these female artists were not completely free, as family obligations, or false accusations of signing work that was not theirs plagued them (p. 30). This means that although some women were able to participate in the art world, their sex still affected how the work was perceived and still needed to keep a decent reputation or they would suffer the consequences. One specific example the Guerilla Girls (2006) mention is Properzia de Rossi, a marble sculptor who- “lived on her own with no man to look after her…eventually she was accused of being a prostitute. This ruined her” (p. 31). Female artists were scrutinized to what their lives were outside their careers, as if their artistic talent and capabilities mean nothing if they do not have the proper reputation of a married woman. Women were expected to be homemakers and wives only, the idea of independence and having other talents seemed unnatural to outsiders. The Guerilla Girls (2006) lastly go into detail about one of the most prolific female painters during the Renaissance, which is Artemisia Gentileschi. She was allowed to paint in her father’s workshop and was considered a prodigy at a very young age (p. 35). However, things took a turn as she was later raped and had to go through a brutal trial but eventually was able to “live an unusually autonomous life” (p. 37). Reading in detail about the abuse she had suffer added to the context of her artwork, specifically Judith Slaying Holofernes, as to me it reads her manifesting the female strength and power that was taken away from her during the trial. Guerrilla Girls. (2006). The renaissance: Lives of the girl artists. In, The guerrilla girls bedside companion to the history of western art (pp.29-37). New York, NY: Penguin Books. |
MY RESPONSE:
Personally, when I was taking an art history class during my senior year in high school, I remember my teacher telling us that it would take a while before we would ever learn about female artists, so when we got to the Renaissance and Baroque time periods, learning about Artemisia’s story was something so special and personal to me, not only in terms of female empowerment and strength, but also because her style was connected to Caravaggio, one of my other favorite painters. When reading this portion, I was honestly shocked that there were even more notable female artists during this time period besides Gentileschi. Reading about Bologna and how some women artists basically had to have that whole “career or family” scenario was fascinating because I still think those social issues still prevail today, especially with actresses in the media. It is crazy to think that women were expected to marry their rapists and how the idea of a woman’s purity and reputation when called into question could leave them destitute. In terms of my teaching, I think that not only has this opened my eyes to more female artists during the Renaissance that I can teach my students about, but also provides more context as to why women were unable to reach the same fame levels as those we commonly associate with this time period like Da Vinci or Michelangelo. The stories of these women- from their reputation, to tales of abuse are still contemporary issues that need to be talked about and transcend past this time period. Conversations comparing and contrasting female artists notoriety and barriers between the past and present can be made in the classroom, as well as ideas of thinking how many women artists go uncredited because they worked in an atelier or were not allowed to sign their name. |
In my chapter of the Guerilla Girls, the main content revolved around how women in the Renaissance period were either able to get by and have some success in the art world, or how outside forces like societal expectations and gossip ruined careers. The last couple of pages in the book talked about the life of Artemisia Gentileschi, who suffered through a horrible rape trial, abuse, and a tattered reputation that she had to recover from to later on be one of the most prolific female artists of her time. When looking at her work, the biggest painting that stands out is her depiction of Judith slaying Holofernes, and the raw strength, emotion and violence that Gentileschi was able to portray, as other artists still tried to retain Judith’s daintiness and innocence while she committed this act.
For my updated research, I decided to tie in this painting and its themes with one of our modern times, which was the image of Kathy Griffin holding a bloodied fake head of Donald Trump back in 2017. She received universal backlash, death threats and was basically blacklisted from Hollywood when it was released on twitter and onto the internet. In this photo is Kathy Griffin in a blue dress shirt tied with something reminiscent as a pussy bow, looking straight into the camera with a deadpan expression as she holds a fake Trump head covered in blood. As someone who has known of Judith/Holofernes depictions in art history, when I saw this image, it did not hold the same shock value as I immediately understood the references; from the blue of her shirt representing Mary as well as the Democratic Party, the pussy bow a reference to the assault accusations or Melania, and even the self-portraits done by Cindy Sherman. After this scandal, Kathy was basically put into hiding and her career seemed over with her reputation in tatters as both sides condemned her. Although I don’t consider this photograph an actual death threat towards Trump, I find it ironic how much backlash she received, because the picture to me is just satirical, edgy political humor. When Obama was inaugurated, he received so many death threats and people making lynching pinatas yet they got little to no reprimanding. Kid Rock even called for the death of Barack when he was inaugurated. In the biblical story of Judith and Holofernes, Judith had to behead Holofernes in order to save her village, bringing the head as proof of his death, as she had to first get him drunk and asleep in order to kill him. Trump is a polarizing figure, seen as a villain to some, stating some of the most misogynistic and vile rhetoric to his base. This image by Griffin makes her the savior of America- ‘the evil is gone, see?’ is the type of expression she has on her face. Even today, women get scrutinized and ‘cancelled’ while their male counterparts are let scot free. |
Judith Slaying Holofernes, Artemisia Gentileschi
Kathy Griffin with Trump's head
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