It frees them up to have different kinds of conversations that make clear how painfully limited the prevailing ones are. Mixed in with the political commentary during Dr. Gentileschi was an exceptional artist. She was raped, when she was 17, by her painting tutor, Agostino Tassi.
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Your account is not active. We have sent an email to the address you provided with an activation link. Check your inbox, and click on the link to activate your account. Each time the victim of sexual violence gets asked what they were wearing, it heartlessly implies that he or she was responsible for the assault and could have prevented it. To fight against the myth that sexual assault could be prevented by the victim alone, an art exhibition displaying what victims wore during the assault was created. More info: sapec. The idea to create such exhibition was born after Dr. Wyandt-Hiebert and Ms. The first installation was held at the University of Arkansas in
Two artists change the narrative
A self-portrait of the brilliant artist Artemisia Gentileschi has just been bought by the National Gallery , and after restoration, will go on display there in Depressingly, it is only the 20th painting by a woman artist acquired by a gallery whose collection comprises 2, European paintings. But what an artist she is. Some might say that talking about this detracts from the painting, but it is impossible not to. It is with context that art comes alive. In the MeToo era, there has been much discussion of whether you can separate the art from the artist, and the relevance of biography to our interpretations of art. Then there are those who call for art that has been created by abusers to be removed completely. To my mind, what is most important is that these discussions are including people outside the narrow cultural sphere within which many art critics and curators operate. It makes those fusty critics who insist that biography detracts look like relics from another era, which they are.
Although all too aware that she had a harder job being taken seriously, she had faith in her talent, her work. Gentileschi's work is known for its strong women, and its vibrant, even shocking depictions of violence. Her story is one of talent, but also resilience, ambition and fierce determination. For Gentileschi had to overcome personal trauma and public humiliation before she could attain the status as one of the most significant Italian artists of the age. Yet she went on to became internationally successful, at a time when painting at all was incredibly rare by a woman. It is undergoing conservation before going on display in early , and is a major acquisition for the gallery — and one explicitly intended to address the gender imbalance of the collection. Currently, staggeringly, only 20 works owned by the gallery are by women, out of 2, in total. One of a handful of women who was able to shatter the confines of her time, she overcame extreme personal difficulties to succeed in the art of painting. But before we catch a glimpse of Gentileschi as she saw herself, she has been appearing on stage. At the Edinburgh Festival this year, and soon in London, a new show also speaks for Gentileschi — quite literally.