Female and Artistic Identity in the Self-Portraiture of Lavinia Fontana and Artemisia Gentileschi
- 10.2991/assehr.k.211120.065How to use a DOI?
- Self-Portraiture; Female and Artistic Identity; Lavinia Fontana; Artemisia Gentileschi
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.
- © 2021 The Authors. Published by Atlantis Press SARL.
- Open Access
- This is an open access article under the CC BY-NC license.
Cite this article
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 -