E non dite che dipingeva come un uomo: história e linguagem pictórica de Artemísia Lomi Gentileschi entre as décadas de 1610 e 1620 em Roma e Florença

Abstract

This research has as main objective understand the complex relation between the life and the work of Artemisia [Lomi] Gentileschi (1593 -1654). The study privileges the firsts years of the young painter‟s career, mainly in Rome and Florence. We selected two mainly types of sources for this work: written and imagetic. The analysis of the pictures was made at the same time we studied the interrogations in the criminal proceeding Stupri et lenocinij Pro Curia et Fisco, where Agostino Tassi is accused for forced desvirgination of Artemisia, during the year of 1611. We made an investigation connected to the discussions of gender, since we understand that the feminine and the masculine are built by the culture and the subjective identities of men and women have social origins, which relate with each other in a complex and tense way (SCOTT, 1990). We point that this research is guided by the method of reduction of scales in the historiography analysis, used by Michel Foucault (1991) and Carlo Ginzburg (2006) as well. About the analysis of images we joined the methodology of Luigi Pareyson (1997). According to the author, [ ] the work reemerge in the history: far from the reduction to a simple moment of temporal flow, it is capable, by its own, to produce history [ ] . (PAREYSON, 1997, p. 133). Even silenced by an androcentric historiography, Artemisia had painted human figures that overcame not just her father, but many others artist of her time. The forced desvirgination, the gynecologist exams, the torture, the arranged marriage between and indebted man and her father, the obstacles of a woman who longs for insertion in a masculinized world of art are important issues of Artemisia‟s life and of the circumstances analyzed by this research. Artemisia built a figurative and stylistic anti-conformist language, painted in the majority of her works the intensity of a patriarchal network power that the artist noticed in her everyday life