VIAGGI DI VINCENZO

(Note:  This article is Part II of a series on The Dinner Party by Judy Chicago.  If you are interested in learning more about Chicago and her iconic installation, please read Old Traditions Meets Contemporary Interpretations Part I).

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Artemisia Gentileschi (1593-ca. 1656 AD) is not only the most famous female artist from the Baroque tradition in Italy, but she is arguably in the Top 20 most memorable women in all art history, sharing a pedestal with the likes of Frida Kahlo and Georgia O'Keeffe.  Among Gentileschi's greatest accomplishments was that she was the first female painter to become a member of the Accademia di Arte del Disegno in Florence.  In addition, when her male contemporaries, notably Caravaggio, were painting "majestic" themes involving historical moments and religious iconography, Gentileschi felt entitled to also paint "masculine" stories, rather than "feminine" landscapes and still-lifes.  What set Artemisia ahead of her time was that, unlike Caravaggio,with whom she shared a similar palette and the climatic emotion one sees throughout the Baroque Period, she painted heroines rather than heroes.  At every point in her choice of paintings, Gentileschi remained true to her convictions to explore areas of history and religion when women were told that only men could paint them. 

The one painting which cannot be separated from the name Artemisia Gentileschi is below:

Giuditta che decapita Oloferne (Judith beheading Holofernes), 1614-20, AD

Judith Beheading Holofernes is at the core of everything Artemisia was stressing:

• a moment of historical and/or biblical reference
• the pivotal moment of the story, when the emotional factor would be the greatest
• the "subtle" factor that the most important figure is a woman

This painting tells the story of Holofernes, an Assyrian general who wanted to destory Judith's hometown.  In short, Judith, a complex character, beheads him.  What makes Judith so complicated, especially when the story is retold by Gentileschi, is that there is a particular tension that many men felt with the supposed-roles of women in society.  How could Judith, as portrayed in this painting, have female body characteristics, such as narrower shoulders and arms, and yet have the "masculine" ability to commit murder?

The story of Judith and Holofernes has been retold many times in visual history, however, when a male artist tells it, he will likely show a meek woman awkwardly holding Holofernes' head.  Without the context of the biblical story, (or sometimes, even with it, depending on the interpretation of it), Judith seems to be in the right place at the right time, but not, as Artemisia pointed out, as the heroine of the tale.  By contrast, take a look at Judith with the Head of Holofernes by Lucas Cranach the Elder c.1530 AD below:

If you'll notice, Judith seems out of place in this image.  She isn't shown at the height of the moment, but rather, in fancy clothes after everything was over.  In other words, if someone were to do a visual analysis of this painting (that is, interpret it solely based on visual interpretation), one might conclude that the woman's husband must have killed a man, and then had his wife pose next to the evidence.  Also, take note of the title--rather than Judith Beheading Holofernes it's Judith with the head of Holofernes.

Logically, a woman of such controversial character and great accomplishment as Artemisia Gentileschi would be one of Judy Chicago's "guests" at The Dinner Party.

"Artemisia Gentileschi,"  The Dinner Party, Judy Chicago, 1974-79 AD

In this plate and place setting, there are references to the chiaroscuro that characterized much of the palette of Artemisia's paintings, and the continuous swirls and folds of rich colors and velvet texture are a visual metaphor for the climatic emotion in her paintings.  The result is a place setting that highlights the woman who challenged misconceptions of women artists during the Baroque Period, and paved the way for future artists to make their mark, including the following "guests" at The Dinner Party: author Mary Wollstonecraft, poet Emily Dickinson, and painter Georgia O'Keeffe.

When asked why she decided to pursue the tremendous undertaking of historical research and years of time to create The Dinner Party, Judy Chicago replied:  "The Dinner Party was meant to end the ongoing cycle of omission in which women were written out of the historical record."  In my professional as well as personal opinions, I believe that one day there will be an artist making a tribute to Judy Chicago for her fundamental role in ensuring that "herstory" (as well her own story) will forever be intertwined with history.

Amanda Maglio, a museum professional and writer of childrens' literature, has had an appreciation for all things Italian since she was born. In addition to receiving a BA in Art History at Skidmore College in New York and an MA at the University of the Arts in Philadelphia, she has also studied abroad at SACI in Florence. Amanda's greatest career-passions are in developing interactive and accessible programs for children and families, as well as leading inquiry-based tours which ask the visitors to "see" through more senses than sight alone. One of Amanda's earliest memories is hearing her grandmother's beautiful voice singing "C'e la Luna". If you are ever in the New York City area, have Amanda take you on a tour of her favorite "oggetti d'arte".

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