Longhi also wrote of Judith Slaying Holofernes: "There are about fifty-seven works by Artemisia Gentileschi and 94% (forty-nine works) feature women as protagonists or equal to men". [27] Artemisia became a successful court painter, enjoying the patronage of the House of Medici, and playing a significant role in courtly culture of the city. Es entstand in der ersten Hälfte des 17. The Renaissance had a long-standing history of portraying Judith. [14], The reception for Judith Slaying Holofernes varied. "[70] This is evident in her allegorical self portrait, Self Portrait as La Pittura, which shows Artemisia as a muse, "symbolic embodiment of the art" and as a professional artist.[70]. She wears an ornate green dress and the viewer can only see up to her mid-thigh region. [55] These include her works of Jael and Sisera, Judith and her Maidservant, and Esther. This stereotype has had the doubly restricting effect of causing scholars to question the attribution of pictures that do not conform to the model, and to value less highly those that do not fit the mold. As a follower of Caravaggio, Artemisia Gentileschi makes use of chiaroscuro in the painting, with a dark background contrasting with the light shining directly on the scene of Judith beheading Holofernes. ", "Distraught young mother breastfeeds her infant. "[63], Artemisia and her oeuvre became a focus again, having had little attention in art history scholarship save Roberto Longhi's article "Gentileschi padre e figlia (Gentileschi, father and daughter)" in 1916 and R. Ward Bissell's article "Artemisia Gentileschi—A New Documented Chronology" in 1968. [7] Rather than making the scene of Holofernes's beheading more palatable for the viewers, Gentileschi differs by not holding back the gruesome imagery. Ungewöhnlich ist nicht nur der gewählte Moment des alttestamentlichen Geschehens, sondern auch, dass es sich dabei möglicherweise um den Versuch einer autobiographischen Aufarbeitung handeln kann. Although it is sometimes difficult to date her paintings, it is possible to assign certain works by Artemisia to these years, such as the Portrait of a Gonfaloniere, today in Bologna (a rare example of her capacity as portrait painter) and the Judith and her Maidservant today in the Detroit Institute of Arts. "[62] According to the foreword by Douglas Druick in Eve Straussman-Pflanzer's Violence & Virtue: Artemisia's Judith Slaying Holofernes, Nochlin's article prompted scholars to make more of an attempt to "integrate women artists into the history of art and culture. [12] Griselda Pollock suggests that the painting should be "read less in terms of its overt references to Artemisia’s experience than as an encoding of the artist's sublimated responses to events in her life and the historical context in which she worked."