Female and Artistic Identity in the Self-Portraiture of Lavinia Fontana and Artemisia Gentileschi

DOI

10.2991/assehr.k.211120.065How to use a DOI?

Keywords

Self-Portraiture; Female and Artistic Identity; Lavinia Fontana; Artemisia Gentileschi

Abstract

When thinking of the Baroque period, people are most likely to first recall names like Velazquez and Caravaggio, who were the representative artists during this period. However, few would know that during the same time, a group of female artists also strived to establish their reputation, and some succeeded doing so. This paper aims to shed light on the ignored stories of female artists during the Baroque period and discusses the balance between their two identities—femineity and artisanship, by introducing the background in which they grew up in, and detailed analysis of their most notable works. To fully discuss the issue, the paper incorporated articles by specialized art critics including Babette Bohn and Mary D. Garrard. This paper concludes that these female artists made their names because of their capability to merge their two identities and therefore achieved something their male counterparts could not.

Copyright

© 2021 The Authors. Published by Atlantis Press SARL.

Open Access

This is an open access article under the CC BY-NC license.

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TY  - CONF
AU  - Cenxiao Huang
PY  - 2021
DA  - 2021/11/29
TI  - Female and Artistic Identity in the Self-Portraiture of Lavinia Fontana and Artemisia Gentileschi
BT  - Proceedings of the 2021 3rd International Conference on Literature, Art and Human Development (ICLAHD 2021)
PB  - Atlantis Press
SP  - 350
EP  - 353
SN  - 2352-5398
UR  - https://doi.org/10.2991/assehr.k.211120.065
DO  - 10.2991/assehr.k.211120.065
ID  - Huang2021
ER  -