Artemisia Gentileschi, the most celebrated female artist of the seventeenth century, appears in the guise of Saint Catherine of Alexandria, a Christian saint martyred in the early fourth century. Self Portrait as Saint Catherine of Alexandria, Members go free with unlimited visits and exclusive benefits, Bought with the support of the American Friends of the National Gallery, the National Gallery Trust, Art Fund (through the legacy of Sir Denis Mahon), Lord and Lady Sassoon, Lady Getty, Hannah Rothschild CBE, Mrs Mollie W. Vickers, the Hon. ... Saint Cecilia as a Lute Player Artemisia Gentileschi • 1620. In the first part of our film series about the restoration of Artemisia Gentileschi's 'Self Portrait as Saint Catherine of Alexandria', Larry Keith our Head of Conservation and Keeper explains the steps we take to restore our paintings. This recreated Artemisia Gentileschi's replica is manually reproduced with oil by our master artists, defining every brushstroke to reinvigorate an original to its glory. Saint Catherine’s facial features, the turn of her head and three-quarter pose, are all closely related to those in Artemisia’s Self Portrait as a Lute Player of about 1615–8 (Wadsworth Atheneum, Hartford, Connecticut). Where do you start when relining the canvas of a 17th century painting and why is relining the painting so important? Sainte Catherine d’Alexandrie, toile réalisée par Artemisia Gentileschi, entre dans les collections du Nationalmuseum de Stockholm.L’œuvre, acquise le 4 décembre 2019 chez Sotheby’s à Londres pour 187 000 livres sterling (frais compris), est visible depuis hier, 25 février, dans les salles du musée. 71 x 71 cm. L ater this year, London’s National Gallery is staging an exhibition that explores the life and work of one of the most accomplished and fabled Old Masters, Artemisia Gentileschi.. The saint is portrayed as resilient, having endured torture – as indeed the artist herself did during the trial following her rape at the age of 17 by the painter Agostino Tassi. Artemisia Gentileschi’s Self Portrait as Saint Catherine of Alexandria, 1615-1617 (. The painting is contained in a tight square of approximately 70 cm and the saint is shown life-size and close up, against a plain background. She leans on a broken wheel studded with iron spikes, on which she was bound and tortured, and which became her standard attribute in art. Estimate . Photo : The National Gallery, Londres. 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. In this work from 1615-17, she poses as St Catherine who, condemned to death on a spiked wheel by Romans, was a particularly pointed choice. The art restoration plan for Artemisia Gentileschi's 'Self Portrait' In the first part of our film series about the restoration of Artemisia Gentileschi's 'Self Portrait as Saint Catherine of Alexandria', Larry Keith our Head of Conservation and Keeper explains the steps we take to restore our paintings. Artemisia Gentileschi, the most celebrated female artist of the seventeenth century, appears in the guise of  Saint Catherine of Alexandria, a Christian saint who died for her faith in the early fourth century. At the age of 17 she was raped by Agostino Tassi, a family friend and Orazio’s artistic collaborator. Sign up to our emails for updates. The show, instigated by the gallery’s 2018 acquisition of Gentileschi’s 1615 Self Portrait as Saint Catherine of Alexandria, joins a host of events celebrating the artist, including plays, books and … She stands in the centre of the image, her head turned to gaze directly out at the viewer, while her body faces the wheel – the instrument of her torture. This image is licensed for non-commercial use under a Creative Commons agreement. Artemisia Gentileschi, Self Portrait as Saint Catherine of Alexandria, 1615 – 17, National Gallery, London Pictured here is the painting after it underwent extensive restoration; restored now to its former glory, the work is going on tour around the … Anonymous sale; Sotheby's, New York, 24 April 1995, lot 66. L’inspiration de cette exposition est la récente acquisition par la National Gallery de Self Portrait d’Artemisia Gentileschi en tant que Sainte Catherine d’Alexandrie (vers 1615-1717), la première peinture de l’artiste à entrer dans une collection publique britannique. Letizia Treves, The James and Sarah Sassoon Curator of Later Italian, Spanish, and French 17th-century Paintings, and Larry Keith, Head... Co-writer/director Billy Barrett and performer/co-writer Ellice Stevens have a chat with curator Letizia Treves about how Artemisia Gentileschi has inspired their new play, 'It's True, It's True, It's True', and how relevant her story is today. Artemisia Gentileschi, Autoportrait en sainte Catherine d’Alexandie, 1615-1617, National Gallery de Londres. (90.2 x 75.5 cm.) Gentileschi’s determination to succeed in this world, overcoming terrific odds to become one of its most in-demand artists, has made her one of art history’s flaming feminist icons. The artist had also endured torture at the hands of the establishment. Realized Price +428%. Dans la toute première grande exposition que la National Gallery de Londres consacre à une grande figure féminine de l’histoire de l’art, l’un des chefs-d’œuvre est un tableau nouvellement redécouvert d’Artemisia Gentileschi acquis par le musée en 2018. Lot Essay. Artemisia Gentileschi, Autoportrait en sainte Catherine d’Alexandrie, huile sur toile, 71 x 71 cm. Her right hand, delicately holding a martyr’s palm between thumb and forefinger, is brought to her chest. Gentileschi likely used the same cartoon or preparatory drawing to create both this painting and the Self-Portrait as Saint Catherine of Alexandria (1615-1617), now in the National Gallery, London. She seems to have used her own image frequently in works she produced in Florence – a number of self portraits are known and others are recorded in seventeenth-century inventories. Given the prejudice she overcame, casting herself as saints, heroic nudes and, in one instance, an allegory of painting itself, is also an early, powerful example of the politics of representation. Fascinating display at the National Gallery focusing on their new Artemisia Gentileschi self-portrait which they acquired in 2017 and is on show after extensive conservation work. I’m a great Artemisia fan so was delighted to see this work which I had already read about. Dec 19, 2017. Artemisia GENTILESCHI (Rome 1593 - Naples 1652) Sainte Catherine d'Alexandrie. Larry Keith, our Head of Conservation and Keeper, talks us through what he's found and what's next for our latest acquisition. During the restoration of the painting, the unusual composition of Artemisia's 'Self Portrait' has come into view. Estimation : 300 000 / 400 000 € License and download a high-resolution image for reproductions up to A3 size from the National Gallery Picture Library. New to the city and keen to demonstrate her talent, she may have painted such pictures in a conscious act of self-promotion. Every canvas print is hand-crafted in the USA, made on-demand at iCanvas and expertly stretched around … You must agree to the Creative Commons terms and conditions to download this image. Larry Keith, our Head of Conservation and Keeper, explains how the painting's appearance is changing as old varnishes are re... Larry Keith, Head of Conservation and Keeper, talks with Letizia Treves, the James and Sarah Sassoon Curator of Later Italian, Spanish, and French 17th-Century Paintings, about the process of the cleaning of Artemisia Gentileschi's 'Self Portrait as ... Who was Artemisia Gentileschi and how does she portray herself in this rare self portrait? It is part of the collection … 14 videos À 12 ans, Artemisia devient la matriarche de la famille Gentileschi. During the infamous trial that followed, Artemisia testified and was tortured. Attributed to Artemisia Gentileschi. Zoom into Self Portrait as Saint Catherine of Alexandria Find out why Artemisia might have identified with the fourth century Christian martyr "With me … Here, the choice of representing herself as a saint who underwent both psychological trials and physical torture may have been made by Artemisia or her patron, but nothing is known of the circumstances in which this painting was commissioned. (90.2 x 75.5 cm.) Mrs Ashley Dawson-Damer, The Society of Dilettanti Charitable Trust Fund, Mr Andrew Green QC and Ms Hirschl, Mr Matthew Santos and Mrs Mary Kuusisto, Mr Peter Scott CBE QC and Dr Richard Ballantine, the Diane Apostolos-Cappadona Trust, Mr Stephen Allcock, Mr James and Lady Emma Barnard, Miss Maxine White and Mr James Mortimer, Michael and Felicia Crystal, The W T J Griffin Charitable Settlement and other donors including those who wish to remain anonymous, 2018, Research, private study, or for internal circulation within an educational organisation (such as a school, college or university), Non-profit publications, personal websites, blogs, and social media. Find out with Conservators Paul Ackroyd and Lynne Harrison. Artemisia was born in Rome, the only daughter of the artist Orazio Gentileschi, under whom she trained. Artemisia Gentileschi, « Autoportrait en sainte Catherine d'Alexandie », 1915 - 1917 © National Gallery « L'Autoportrait en sainte Catherine d'Alexandrie », peint par Artemisia Gentileschi vers 1615-1617 a été acquis par la National Gallery de Londres pour 3,6 millions de livres. What have we found so far during the restoration of Artemisia Gentileschi's 'Self Portrait as Saint Catherine of Alexandria'? In a dramatically lit, closely cropped image, Artemisia depicts herself as Saint Catherine of Alexandria, a fourth-century Christian martyr. Artemisia Gentileschi, un temps oubliée, est aujourd’hui reconnue comme l’un des plus grands talents baroques de son époque. Saint Catherine of Alexandra is a painting by the Italian Baroque artist Artemisia Gentileschi. Artemisia Gentileschi (Rome 1593-1652/3 Naples) Saint Catherine of Alexandria oil on canvas 35½ x 29¾ in. Artemisia Gentileschi, Autoportrait en sainte Catherine d’Alexandrie, vers 1615–1617. Judith ... Autoportrait en allégorie de la peinture Artemisia Gentileschi • 1639. Even when male figures are absent in Gentileschi’s works, like in her “Self-Portrait as Saint Catherine of Alexandria,” currently on display at the National Portrait Gallery in London after a celebrated recent acquisition, the subversion of gender normativity and patriarchal structures rings clear. Like Orazio and Caravaggio, Artemisia was admired during her lifetime but was forgotten over the following centuries. 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. Her fury appears to have been vented in the paintings she made shortly after her trial, of the biblical Judith brutally severing the head of Holofernes. Son père, Orazio, était un peintre très respecté. According to legend, Catherine was … In this work from 1615-17, she poses as St Catherine who, condemned to death on a spiked wheel by Romans, was a particularly pointed choice. i. Huile sur panneau • 71,5 × 71 cm • National Gallery, Londres • Domaine public. Now that the painting has gone through a moisture treatment and the new canvas has been added to the back of the painting, it's time to examine the work by removing the facing on the surface. Artemisia Gentileschi - 'Saint Catherine of Alexandria', oil on canvas painting, c. 1620, El Paso Museum of Art.jpg 1,177 × 1,544; 1.4 MB Artemisia Gentileschi - Birth of St John the Baptist - WGA8559.jpg 791 × 556; 104 KB Sainte Catherine d'Alexandrie. Watch as Larry Keith, our Head of Conservation and Keeper, begins the task of retouching some of the areas of damage seen on Artemisia Gentileschi's 'Self Portrait'. Curator Letizia Treves chats with our Head of Conservation, Larry Keith, and our Head of Framing, Peter Schade, to talk about what frame will work for Artemisia Gentileschi's... Our Head of Framing, Peter Schade, takes us into the framing workshop to see the chosen frame for Artemisia Gentileschi's 'Self Portrait' as it's completed. Many of Artemisia’s paintings, in particular those depicting a strong female heroine, have often been read in biographical terms.