1. Introduction: The Gender Context of 17th-Century Art and the Rise of Artemisia Gentileschi

The 17th century, also known as the Baroque period, is marked by the prominence of Baroque art. In studies of Baroque art, the male topics within gender issues have held a dominant position, while the accomplishments of female artists are rare. Therefore, exploring the gender roles of artists from this period offers a unique and profound insight into the gender concepts and cultural backgrounds of the time. In Rubens’ The Raising of the Cross, the power, authority, and indifference of men are juxtaposed with the sadness, helplessness, and piety of the Virgin Mary as a woman. Similarly, in Bernini’s sculpture Apollo and Daphne and Caravaggio’s painting Doubting Thomas, the contrast of gender roles and dynamic compositions convey religious emotions and moral implications that transcend gender differences. Although the ideas expressed by the artists in these works may not explicitly focus on gender differences, they still utilize fixed gender characteristics to serve the composition. Gendered interpretations of Baroque art are not merely about distinguishing between male and female figures but involve in-depth analysis of the differing approaches of male and female artists, exploring how they use gender elements to convey their ideas and emotions.

17th-century Baroque art was deeply constrained by gender stereotypes, with male traits idealized as brave and rational, while women were simplified into weak and passive objects. This bias was further reinforced by the monopoly of art education resources and the systematic discrimination within the art criticism and collection systems, which led to the long marginalization of female creators in global art history (for instance, only 25% of the works in the National Gallery of Australia are by female artists) [1]. In a male-dominated art world, Gentileschi’s works empowered female characters with independent thought and action, transforming women from “victims in the frame” into narrative subjects with agency. This breakthrough is not only reflected in the reconstruction of the female body language but also in the retelling of historical myths from a female perspective, challenging the systematic neglect of women’s experiences in the art world.

2. Artemisia Gentileschi’s Life and Gendered Narratives

2.1. Family Background and Early Education: The Intersection of Art and Education

Artemisia Gentileschi, born in 1593 in Florence, Italy, came from a family of artists. Her father, Orazio Gentileschi, was a famous painter who primarily adopted Caravaggio’s style [2]. Not only was her father her art mentor, but he also acted as an important partner and guide in her early artistic journey, providing her with a relatively free environment for artistic creation.

2.2. Sexual Assault and Legal Battle: Gendered Violence and Female Resistance

Gentileschi was fortunate to have her father teach her directly, and he later invited his friend, Tassi, to teach her painting. However, Gentileschi was also unfortunate. Tassi, involved in scandals such as arguments, extramarital affairs, debt, the murder of his wife, and assaulting prostitutes, saw not her exceptional artistic talent but her youthful body. After enduring nearly a year of physical abuse, Gentileschi, filled with anger, took Tassi to court. Feeling the societal discrimination against women, she poured her grief into her work, creating Judith with the Head of Holofernes (currently housed in the Capodimonte Museum in Italy). She inserted her own image into Judith, replacing Holofernes’ face with Tassi’s, letting her emotions spill onto the canvas.

2.3. Marriage and Artistic Career: The Conflict Between Gender Roles and Career Development

Gentileschi’s marital life was also full of challenges and difficulties. At the age of 19, due to the sexual assault incident, she married and moved to Florence. Although her husband was also an artist, their artistic styles and philosophies differed significantly. This disparity caused Gentileschi to face a conflict between her family responsibilities and her career in art after marriage.

After experiencing the aforementioned events, the reconstruction of gendered narratives became an indispensable part of her life. She skillfully wove her pain, struggles, resistance, and growth into her works, making them not only of high artistic value but also deeply significant socially and humanistically.

3. Artemisia Gentileschi’s Artistic Practice: Challenges and Breakthroughs in Traditional Gender Narratives

Gentileschi undoubtedly displayed remarkable courage and innovative spirit in her choice of subjects. In her historical works, she did not confine herself to the original historical narratives but instead revisited historical events from a female perspective [3]. For example, in Judith with the Head of Holofernes, Gentileschi reinterprets and recreates a biblical story, successfully portraying Judith as a figure embodying both wisdom and courage, unconstrained by the stereotypical image of women as gentle in her era. In her depictions of mythological and legendary subjects, such as The Allegory of Painting, she emphasized the shining independence of women. Likewise, in religious works like Saint Cecilia as a Lute Player, she showcased her choice of religious scenes with profound symbolic meaning.

Through her artistic practice, Gentileschi successfully subverted traditional notions of the gendered gaze. By employing a female perspective to reinterpret and reimagine artistic images and themes, she challenged the societal stereotypes and prejudices surrounding women.

4. Gentileschi’s “Female Voice”: Visual Language and Narrative Strategies

4.1. Tintoretto and Gentileschi’s Susanna and the Elders: Artistic Differences and Cultural Implications from a Gendered Perspective

Figure 1: Tintoretto’s Susanna and the Elders Figure 2: Gentileschi’s Susanna and the Elders

The story of Susanna and the Elders—an iconic tale of chastity, deception, and justice. Two religious elders, enticed by the beauty of the young Susanna, secretly watched her bathe. One day, when Susanna was alone in the garden, the elders attempted to assault her but were met with resistance, after which they falsely accused her of adultery. During the public trial, Susanna was sentenced to death, but at a pivotal moment, the prophet Daniel received a divine revelation and exposed the elders’ lies. With the truth revealed, Susanna was acquitted, and the elders who had falsely accused her faced the punishment they deserved. Many classical masters have used this theme in their works.

In Tintoretto’s Susanna and the Elders, Susanna, freshly emerged from the bath, sits nude by the pool, gazing at herself in the mirror with a slight smile. Meanwhile, the two elders, hidden behind a trellis covered in flowers and vines, are barely noticeable. The painting, with its rich colors and masterful use of light and shadow, creates an open and poetic space, where Susanna’s beauty is vividly portrayed. However, with the large depiction of Susanna and the relatively smaller portrayal of the elders, this beauty carries an undertone of being watched and consumed.

In contrast, Gentileschi’s Susanna and the Elders places more emphasis on dramatic expression and emotional conveyance. In this work, Susanna, upon realizing she is being watched, twists her body in a posture of determined resistance, her face filled with embarrassment and fear. Gentileschi uses a concise and dynamic composition with stark contrasts of light and dark to highlight Susanna’s immediate reaction and inner turmoil, infusing the scene with tension and strength.

The religious theme of Susanna and the Elders has been interpreted by various artists in different ways, reflecting the distinct eras, artistic styles, and emotional perspectives of the creators [4]. As a male artist, Tintoretto inevitably reflects male thought processes and aesthetic views, tending to portray women as objects of male desire through the male gaze. Gentileschi, as a female artist, focuses more on the inner world and emotional needs of women. In her work, women are portrayed as fighters, brave and independent, rather than mere symbols of beauty or objects of male admiration. Through her art, Gentileschi expresses her reflections and struggles concerning the status and rights of women.

4.2. Judith’s Assassination: Subjective Differences and Contextual Implications from a Gender Perspective

The story of Judith beheading Holofernes comes from the Apocrypha and tells of the beautiful widow Judith, who, using both her wisdom and beauty, decapitates the enemy general Holofernes to save the Israelites. Gentileschi’s Judith series is closely tied to her personal experiences. She had been sexually assaulted and struggled to defend her rights in a public trial, an experience that profoundly influenced her artistic creation.

In Gentileschi’s depiction, Judith is no longer the traditionally weak woman but a female hero with a strong spirit of resistance and a sense of empowerment [5]. The Judith and maidservant figures in her painting appear robust and full of strength. Gentileschi boldly handles the details of blood splattering, presenting the violent act of decapitation directly to the viewer, thereby illustrating the power and courage of female ascension.

In stark contrast, male Renaissance artists often portrayed Judith in ways that emphasized her divinity, allure, or calmness, avoiding the direct depiction of violence. Instead, they chose softer scenes of Judith departing with the head, holding it, or stepping on it. In the works of Michelangelo, Botticelli, Titian, and Giorgione, Judith’s departure scenes show her in a more serene and compassionate light, either cradling the head with a maternal expression or stepping on it with detachment. This difference not only reflects the unique artistic styles of the artists but also profoundly reveals the prevailing societal stereotypes and gender biases of the time.

Gentileschi’s works not only subvert the traditional Judith theme but also challenge the gender roles of her society. Through the “gaze” from a female perspective, she expresses the expectations and defense of women’s gender identities, injecting vitality into the Baroque art world and offering valuable inspiration and insight for future female artists.

5. Gentileschi’s Artistic Legacy: Her Influence and Insights for Future Generations

Gentileschi’s works merge religious, mythological, and historical themes, developing a unique artistic language under the influence of Caravaggio. Her dramatic expression techniques break through gender constraints, conveying female strength and inner struggle through her works. She became one of the most subversive female artists of the Baroque period. Although her talent was overlooked during her lifetime, the gender issues, social critique, and artistic innovations in her works have gradually been rediscovered. This not only provides a unique perspective for contemporary art history research but also fosters a rethinking of the creative identities of women in the art world. Her success has inspired countless female artists to courageously pursue their dreams and express their viewpoints, thus promoting the diversity and inclusivity of the identity of female artists.

6. Conclusion

Gentileschi’s artistic legacy not only showcases her mastery in painting techniques but also profoundly reflects her deep insights into human nature, emotions, and social issues [6]. Her works use the female body as a narrative medium, transforming the passive object traditionally depicted in art into a subject filled with resistance. This subversion of visual language directly responds to feminist calls for the reconstruction of gender roles. At the same time, her career, which broke through societal constraints, serves as a historical case that confirms the potential for women to overcome structural discrimination, providing a strategic reference for contemporary women in their pursuit of artistic authority.

From the perspective of art history, the gender politics in Gentileschi’s works have opened new paths for Baroque art research. By reconstructing mythological and religious scenes from a female perspective, she brings to light the invisible gender power networks within art history. This interpretative model not only deconstructs the gender blindness in traditional art history narratives but also promotes the establishment of a more inclusive art evaluation system. The cross-temporal dialogue inspired by her works provides creative inspiration for contemporary female artists and urges the art world to reassess gender as a dynamic social construct. This dual influence continues to reshape the boundaries of interaction between art and social gender.