She leans on a broken wheel studded with iron spikes, to which she was bound and tortured, and which became her standard attribute in art. Many of Artemisia’s paintings, in particular those depicting a strong female heroine, have often been read in biographical terms. Gentileschi suffered greatly in her life, but turned this into her art. The picture underwent a months-long conservation treatment, which the public were able to follow in almost real time through a series of short films (still available via the Gallery’s YouTube channel). Gentileschi’s mastery of sfumato, a technique where shades of paint are carefully blurred together, is seen in the hyperrealistic glow on her cheeks. Earlier this month, a series of stained-glass windows designed by the German artist, now 88 years old, were installed at Tholey Abbey and in October, visitors will […], Theatre companies across the world are beginning to find ways to deliver performances to the public once again. Self-Portrait as Saint Catherine of Alexandria, Art World Roundup: Kaywin Feldman on the Philip Guston show, Ai Weiwei’s outlook, a T. rex. We'll assume you're ok with this, but you can opt-out if you wish. The crown on her head, meanwhile, turns her almost into a Christ-figure. Where do you start when relining the canvas of a 17th century painting and why is relining the painting so important? It has been put on hold due to the temporary closure of the gallery, but will be rescheduled – so keep an eye out. Diese Seite wurde zuletzt am 17. Carl Larsson, one of the most renowned Swedish painters nowadays, initially had no success in his own country. It displays on the one hand Saint Catherine, whom the Roman Emperor Maxentius in the early 4th century sentenced to death on a spiked breaking wheel which, according to legend, shattered at her touch. Another of her paintings. , which can be found at the National Gallery. How do we prepare a 17th century painting and its canvas to be relined and what does a moisture treatment entail? Gentileschi’s importance in the history of art should not be reduced to her gender, however; she was immeasurably talented, with Hannah Rothschild, the current Chair of the National Gallery’s Board of Trustees, describing her as ‘a pioneer, a master storyteller, and one of the most progressive and expressive painters of the period.’ Her career spanned more than 40 years and she became the first female member of Florence’s Academy of Fine Arts. She worked on her piece Self-portrait as Saint Catherine of Alexandria in 1615-1617 after her famous rape trial in 1612, where she undergone so much torture including her fingers being crushed as a way of verifying that she was telling the truth. This website uses cookies to improve your experience. Heilige Katharina von Alexandria, Uffizien, Weitere Selbstporträts von Artemisia Gentileschi, „National Gallery verbringt £ 3.6m für seltene Malerei boost Frauenkunst“, "Seltenes Selbstporträt von Artemisia Gentileschi kommt in die Sammlung". Our painting of the week is, however, recently discovered Self Portrait as Saint Catherine of Alexandria, as it provides a window not only into the art scene in which she lived, but also her own life and struggles. In this light, the broken wheel in Catherine’s hand is also symbolic of the suffering Gentileschi herself endured. Self Portrait as Saint Catherine of Alexandria. What have we found so far during the restoration of Artemisia Gentileschi's 'Self Portrait as Saint Catherine of Alexandria'? You also have the option to opt-out of these cookies. Even when male figures are absent in Gentileschi’s works, When you come face to face with the work, you see a cherubic yet confident woman staring at you from the cropped canvas. A look into Gentileschi’s eyes sees her staring right back. Es ist eines von mehreren Gemälden weiblicher Märtyrerinnen von Gentileschi, die sie nach ihrem berühmten Vergewaltigungsprozess von 1612 gemalt hat, bei dem ihre Finger gequetscht wurden, um sie zu zwingen, die Wahrheit zu sagen. Only part of the wheel is visible and the close cropping adds to the intensity of the work, as does the theatrical lighting – a strong light from the right illuminates the claw-like spikes on the wheel, Catherine’s outstretched arm and the gleaming skin of her neck and shoulder. Chris Dobson is a postgraduate student of English Literature at the University of Glasgow.

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