Art Chowder July | August 2018, Issue 16 | Page 39

W
hatever her husband knew or
thought about this short-lived liaison is
unknown. Though he accompanied her to
Rome, Stiattesi vanished from her life in
1623.)
To account for Artemisia’s apparently
newfound erudition Jesse Locker offers a
very persuasive explanation. In addition
to formal education and the reading
of books, “There was also a vast body
of learning that was oral in nature —
whether in the form of poetry composed
extemporaneously, canonical works
being recited or set to music, or works of
science, history and mythology being read
aloud,” according to recent research by
literary and social historians. He goes on
to note that this was not limited to courts
and academies but was part of daily life
“in artist studios, taverns, and piazzas,
and at dinner parties.” This observation of
how literary culture could be transmitted
across social strata, in informal settings
by means of musical and theatrical
performances, makes a great deal of
sense.
We can tell from the many paintings
of musicians by Orazio and others in
the circle around Caravaggio in Rome,
something of what Artemisia was
exposed to growing up in her father’s
house. In the more colorful and refined
atmosphere of Florence, Artemisia was on
familiar terms with members of a circle
of artists, writers, and musicians. Her
most prominent supporter, Michelangelo
Buonarotti the Younger (nephew of the
great sculptor), stood as godfather for one
of her daughters, and was also a leading
librettist who had collaborated with
Florentine composer Francesca Caccini
(1587-1641). Artemisia’s Self-Portrait
as a Lute Player suggests the enticing
possibility that she herself participated
more actively in this intellectual circle
than previously supposed.
Jérôme David (ca. 1605 – 1670)
Engraving after a lost self portrait by
Artemisia Gentileschi
Artemisia Gentileschi (1593-1653)
Self-Portrait as a Female Martyr
ca. 1615
oil on panel
12 1/2 x 9 3/4”
private collection
Anonymous medalist
Bronze Portrait Medallion of Artemisia
Gentileschi inscribed “PITRIX
CELEBRIS”
ca.1625
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