Artemisia in Naples
Artemisia Gentileschi's quarter-century of independence and success in the great south Italian city
The Annunciation (1630) by Artemisia GentileschiMuseo e Real Bosco di Capodimonte
Artemisia had been living and working in Venice when, at the age of 37, she fled the city to avoid an exceptionally virulent outbreak of the plague.
She travelled south to Naples, at that time the largest city in Italy – second only to Paris in Europe – and part of the Spanish empire. The opportunities for artists in Naples were plentiful and this large-scale altarpiece – Artemisia’s first known commission for such work – was probably painted shortly after her arrival.
This altarpiece depicts the Annunciation, in which the angel Gabriel comes before the Virgin to tell her she will give birth to the son of God.
It combines a dramatic use of ‘chiaroscuro’ (strong light and shade) with an elegant classicism Artemisia had been refining over the previous decade.
Whereas other ‘outsiders’ had met with a hostile reception by artists already established in Naples (cases involved death-threats and poisonings), Artemisia seems to have been fully accepted into the city’s cultural life.
Lot and His Daughters (about 1636–38) by Artemisia Gentileschi (Italian, 1593–1652/53)The Toledo Museum of Art
Artemisia’s work was in such demand that she was able to set up and run her own workshop with great success – a feat unheard of for a female artist in Italy at the time. Her daughter, Prudenzia, also a painter, may have been among her workshop assistants.
This depiction of the Old Testament story of Lot and his Daughters, 1636–38, was one of the ambitious paintings Artemisia produced during these years.
Artemisia followed a practice common among artists across Europe at the time. She employed specialists in particular aspects of painting to complete parts of her pictures.
It is very likely that the background here, which includes the burning city of Sodom, is the work of a regular collaborator and landscape specialist, Domenico Gargiulo.
The success of Artemisia’s Naples workshop, and her international list of illustrious patrons, was such that (with a bit of financial manoeuvring) she could single-handedly support herself and her daughter, Prudenzia. Her financial independence seems to have been a source of particular pride. Artemisia and her husband, Pierantonio Stiattesi, had parted in Rome more than a decade previously.
Self-Portrait as the Allegory of Painting (La Pittura) (c.1638-9) by Artemisia GentileschiRoyal Collection Trust, UK
Artemisia probably did not intend to stay long in Naples. It was a violent and tough city to live in. Six years after arriving she complained bitterly in a letter:
‘I just don’t want to be here anymore – on account of the chaos of war, and because of the hard life, and the high cost of living.’
But despite her dissatisfaction with Naples, she still took her time to accept an invitation from King Charles I to visit London. Arriving at some point in 1638 and staying until early 1640 she probably painted this self portrait, in which she depicts herself as the Allegory of Painting, when there.
In London, Artemisia was showered with ‘honours and favours’ by the royal court. But, for whatever reason, it was not long before she was eager to return to mainland Europe. She lobbied for postings at other courts, but ended up returning to Naples.
Bathsheba in the Bath by Artemisia GentileschiPicture Gallery Sanssouci, Prussian Palaces and Gardens Foundation Berlin-Brandenburg
Artemisia remained in the city for the rest of her life. She continued to run her workshop and often revisited subjects, such as this Bathsheba Bathing, which centred on the honour and fortitude of female heroines from the Old Testament and classical history.
Artemisia's own strength and resilience feature heavily in a fascinating group of letters she wrote from Naples to the Sicilian nobleman and collector, Don Antonio Ruffo.
‘I will show Your Illustrious Lordship what a woman can do’
she wrote in one letter, and in another,
‘with me Your Illustrious Lordship will not lose and you will find the spirit of Caesar in the soul of a woman.’
Artemisia’s last known work, dated 1652, was painted as she approached her sixtieth birthday. It is not known when she died but the last record of her being alive is in August 1654, when she paid her taxes.
New information about Artemisia’s life and work – including lost paintings – continues to come to light. It may be that in a few years’ time we will know even more about Artemisia’s last quarter-century in Naples.
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