11/4/2022 0 Comments Self portrait painter![]() ![]() The portrait medal struck by Felice Antonio Casoni, celebrating the Cremonese painter Lavinia Fontana, depicts on the obverse a profile portrait of the artist, while on the reverse appears an allegory of Painting. There are precedents for this conflation of identities in representations of female artists. The work is also, however, a self-portrait: as a woman artist, Artemisia identifies herself as the female personification of Painting. With clothes of evanescently coloured drapery, she holds a brush in one hand and a palette in the other. Artemisia captures the essentials of this description, leaving out the inscription on the mask and the gagged mouth, intended to symbolise that Painting is dumb. #SELF PORTRAIT PAINTER FULL#Artemisia follows the standard emblematic handbook of the period, the Iconologia of Cesare Ripa, where Painting is described as 'a beautiful woman, with full black hair, dishevelled, and twisted in various ways, with arched eyebrows that show imaginative thought, the mouth covered with a cloth tied behind her ears, with a chain of gold at her throat from which hangs a mask, and has written in front 'imitation''. On one level the work depicts an allegorical figure of Painting, and was described as such in Charles I's inventory. ![]() She was invited in 1638 by Charles I to come to London to join her father, Orazio Gentilieschi, who had been working in England since 1626. It was probably during her brief English sojourn (1638- c.1641) that Artemisia Gentileschi produced this painting. She holds a brush in one hand and a palette in the other, cleverly identifying herself as the female personification of painting - something her male contemporaries could never do. Artemisia Gentileschi was invited to London in 1638 by Charles I, and probably produced this sophisticated and accomplished self-portrait in England. ![]()
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