Artemisia Gentileschi, Self-Portrait as the Allegory of Painting, 1630s

c. 1630.

Oil on canvas.

0.965m by 0.737m

The Royal Collection, Kensington Palace, London.

The Painting.

nother of Artemisia's admired paintings is an advanced post erroneously placed in the biographical film at an earlier period. She probably placed two angled mirrors to gain this unusual side view of herself. She appears hard at work, her hair escaping from its tether. Charles I of England acquired this painting, which remains a state treasure.

I viewed this painting at the National Art Gallery in Canberra when it was part of the "Queen's Pictures" Exhibition in the late 1990's.

The Artist's Life.

rtemisia completed this painting at the end of her stay in Rome. A mature and respected artist, she moved to Naples. She acquired the patronage of Philip IV of Spain, Charles I of England, and the Duke of Modena. With such regal patrons how could an artist of this magnitude have been so easily forgotten by art historians? Was it simply because she was a woman?

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