Arcadópolis
Self-Portrait as the Allegory of Painting
Artemisia Gentileschi, c. 1638–1639
What you see
Artemisia shows herself in three-quarter view, leaning toward a canvas we barely see on the left. Her right arm rises diagonally, the brush about to touch the surface, while her other hand, below, holds the palette and more brushes. She does not look at us; her eyes are fixed on the work. Her body draws a line from the raised hand down to the palette.
The background is a plain brown wall that leaves the stage to her figure, lit from the left. The green silk of her dress, with violet glints, stands out against the wall. Watch for the small mask-shaped pendant, the rolled-up sleeve with its lace trim and the letters “A.G.F.” on the edge of the table.
About Artemisia Gentileschi
Artemisia Gentileschi learned to paint in Rome, in the studio of her father Orazio, a follower of Caravaggio, from whom she took the strong contrasts of light and shadow. In 1616 she became the first woman admitted to the Academy of the Arts of Drawing in Florence, and later worked in Venice, London and Naples for nobles and kings. She painted above all heroines from the Bible and history with uncommon force and resolve; after centuries of neglect, she is today one of the most admired painters of the Baroque.
More by Artemisia Gentileschi
The Arcadópolis Museum has 443 public-domain works in 40 rooms, free to explore in 3D in your browser.