Ancient Painting by Women
Except otherwise stated, all results include the premium.
See also : French painting < 1860
Chronology : 1780-1789
See also : French painting < 1860
Chronology : 1780-1789
1607 Glass Compote by Fede Galizia
2019 SOLD for $ 2.4M by Sotheby's
The daughter of a miniaturist painter, Fede Galizia makes her entire career in Milan. Her early skill was already recognized at the age of about 12 in 1586. She painted portraits and scenes of devotion with great care to realistic details.
Federico Borromeo becomes archbishop of Milan in 1595. He is one of the greatest helpers in the history of art, for whom Jan Brueghel the Elder creates in 1606 the theme of the still life of flowers. In 1607 he lays the foundation of the Ambrosian Library, inaugurated in 1609, for promoting the humanist values.
The cardinal presents to his new library the Canestra di frutta painted by Caravaggio. This undated painting is a very rare example for its time of a still life without figure, probably designed by the artist as a modello for some details in his vanity scenes.
The Milanese influence is indisputable but the still lifes by Fede Galizia express her tendency to an extreme realism, unrelated to vanities. It is possible that she chose this unprecedented theme to escape the competition that should occur with male artists on more classical subjects. She opens the way to Clara Peeters and Louyse Moillon. Apart from her clients, she receives little attention and the rest of her work is not datable. She died unmarried in 1630.
On July 8, 2015, Sotheby's sold at lot 29 for £ 1.57M a still life of fruit monogrammed FG, by Fede Galizia, oil on panel 31 x 43 cm dated 1607. It is the only known still life that has been dated by the artist, certainly a prototype and perhaps even the earliest of them.
This dated painting offers a symmetrical composition, broken only by the arrangement of some quinces placed directly on the table while peaches are raised in a crystal stemmed stand. The highest care is given to the texture of the fruits. One of the quinces is sliced. A few jasmine flowers are added to the composition.
The lighting is frontal, unlike the light studies that will soon be done by Claesz and Heda in their breakfast paintings. The light is reflected on the skin of a quince.
A very similar painting significantly differentiated by the appearance of a grasshopper was sold for $ 1.64M by Christie's on April 6, 2006. The catalog of the auction house indicated a pristine state bringing a crystalline sharpness. This oil on panel 31 x 43 cm was sold for $ 2.4M by Sotheby's on January 30, 2019, lot 42. Please watch the video shared by the auction house.
On February 1, 2018, Sotheby's sold for $ 2.06M a pair of oils on panels by Fede Galizia, 27 x 39 cm each, lot 20.
The composition is broadly similar to the examples above, with on each picture the fruits in a porcelain basket and on a stone ledge. The greater variety of fruit dominated by opulent clusters of grapes and the introduction of a wasp demonstrate that this pair is an evolution from the seminal modello dated 1607.
The high quality of these two paintings suggests that they also were modelli, and they were designed by the artist to stay together : an identical pair on canvas in the same dimension dissociated by Sotheby's on December 12, 1984 was certainly a replica.
Federico Borromeo becomes archbishop of Milan in 1595. He is one of the greatest helpers in the history of art, for whom Jan Brueghel the Elder creates in 1606 the theme of the still life of flowers. In 1607 he lays the foundation of the Ambrosian Library, inaugurated in 1609, for promoting the humanist values.
The cardinal presents to his new library the Canestra di frutta painted by Caravaggio. This undated painting is a very rare example for its time of a still life without figure, probably designed by the artist as a modello for some details in his vanity scenes.
The Milanese influence is indisputable but the still lifes by Fede Galizia express her tendency to an extreme realism, unrelated to vanities. It is possible that she chose this unprecedented theme to escape the competition that should occur with male artists on more classical subjects. She opens the way to Clara Peeters and Louyse Moillon. Apart from her clients, she receives little attention and the rest of her work is not datable. She died unmarried in 1630.
On July 8, 2015, Sotheby's sold at lot 29 for £ 1.57M a still life of fruit monogrammed FG, by Fede Galizia, oil on panel 31 x 43 cm dated 1607. It is the only known still life that has been dated by the artist, certainly a prototype and perhaps even the earliest of them.
This dated painting offers a symmetrical composition, broken only by the arrangement of some quinces placed directly on the table while peaches are raised in a crystal stemmed stand. The highest care is given to the texture of the fruits. One of the quinces is sliced. A few jasmine flowers are added to the composition.
The lighting is frontal, unlike the light studies that will soon be done by Claesz and Heda in their breakfast paintings. The light is reflected on the skin of a quince.
A very similar painting significantly differentiated by the appearance of a grasshopper was sold for $ 1.64M by Christie's on April 6, 2006. The catalog of the auction house indicated a pristine state bringing a crystalline sharpness. This oil on panel 31 x 43 cm was sold for $ 2.4M by Sotheby's on January 30, 2019, lot 42. Please watch the video shared by the auction house.
On February 1, 2018, Sotheby's sold for $ 2.06M a pair of oils on panels by Fede Galizia, 27 x 39 cm each, lot 20.
The composition is broadly similar to the examples above, with on each picture the fruits in a porcelain basket and on a stone ledge. The greater variety of fruit dominated by opulent clusters of grapes and the introduction of a wasp demonstrate that this pair is an evolution from the seminal modello dated 1607.
The high quality of these two paintings suggests that they also were modelli, and they were designed by the artist to stay together : an identical pair on canvas in the same dimension dissociated by Sotheby's on December 12, 1984 was certainly a replica.
Celebrating women in art including unsung female Old Masters at @Sothebys upcoming Female Triumphant Sale! https://t.co/99HXaeOpIS pic.twitter.com/IN5Olc10lK
— quintessence (@quintessenceblg) January 14, 2019
Artemisia GENTILESCHI
Intro
Psychological Evaluation of Artemisia Gentileschi's Life and Art
Artemisia Gentileschi (1593–c. 1654) was a pioneering Baroque painter whose life and work have invited extensive psychological interpretation, particularly through feminist lenses. Her experiences—marked by early trauma, professional ambition, and resilience in a patriarchal society—intersect with her art, which often features strong female protagonists from biblical and mythological stories. While some scholars view her paintings as outlets for personal catharsis and empowerment, others caution against overemphasizing biography at the expense of her artistic innovation and historical context.
Key Life Events and Psychological Impact
Gentileschi's most documented trauma occurred in 1611–1612, when, at age 17–18, she was raped by Agostino Tassi, a colleague of her father Orazio. The subsequent seven-month trial, initiated by her father to restore family honor rather than solely seek justice for her, involved public humiliation, gynecological examination, and torture via thumbscrews (sibille) to verify her testimony. Trial transcripts reveal her defiance—she repeatedly affirmed "It's true" under duress and reportedly threatened Tassi with a knife during the assault.
Psychologically, this event likely contributed to themes of vulnerability, betrayal, and resilience. Seventeenth-century views prioritized social reputation over individual trauma; concepts of modern psychological fallout (e.g., PTSD) were absent. Yet, her swift marriage post-trial and relocation to Florence suggest adaptive coping: she channeled energy into a successful career, becoming the first woman admitted to Florence's Accademia del Disegno and patronized by the Medici and European rulers.
Her letters display wit, confidence, and self-awareness (e.g., "I will show Your Illustrious Lordship what a woman can do"), indicating strong ego strength and agency despite adversity.
Judith Slaying Holofernes (c. 1614–1620, multiple versions): Visceral depiction of biblical heroine beheading Assyrian general. Blood spurts realistically; Judith and maidservant collaborate with focused intensity.
Interpretations in Her Art
Gentileschi's oeuvre emphasizes female figures with psychological depth, often subverting male-dominated narratives:
Balanced Perspectives and Critiques
While trauma undoubtedly influenced subject choices, over-psychologizing risks reductionism:
Artemisia Gentileschi (1593–c. 1654) was a pioneering Baroque painter whose life and work have invited extensive psychological interpretation, particularly through feminist lenses. Her experiences—marked by early trauma, professional ambition, and resilience in a patriarchal society—intersect with her art, which often features strong female protagonists from biblical and mythological stories. While some scholars view her paintings as outlets for personal catharsis and empowerment, others caution against overemphasizing biography at the expense of her artistic innovation and historical context.
Key Life Events and Psychological Impact
Gentileschi's most documented trauma occurred in 1611–1612, when, at age 17–18, she was raped by Agostino Tassi, a colleague of her father Orazio. The subsequent seven-month trial, initiated by her father to restore family honor rather than solely seek justice for her, involved public humiliation, gynecological examination, and torture via thumbscrews (sibille) to verify her testimony. Trial transcripts reveal her defiance—she repeatedly affirmed "It's true" under duress and reportedly threatened Tassi with a knife during the assault.
Psychologically, this event likely contributed to themes of vulnerability, betrayal, and resilience. Seventeenth-century views prioritized social reputation over individual trauma; concepts of modern psychological fallout (e.g., PTSD) were absent. Yet, her swift marriage post-trial and relocation to Florence suggest adaptive coping: she channeled energy into a successful career, becoming the first woman admitted to Florence's Accademia del Disegno and patronized by the Medici and European rulers.
Her letters display wit, confidence, and self-awareness (e.g., "I will show Your Illustrious Lordship what a woman can do"), indicating strong ego strength and agency despite adversity.
Judith Slaying Holofernes (c. 1614–1620, multiple versions): Visceral depiction of biblical heroine beheading Assyrian general. Blood spurts realistically; Judith and maidservant collaborate with focused intensity.
Interpretations in Her Art
Gentileschi's oeuvre emphasizes female figures with psychological depth, often subverting male-dominated narratives:
- Susanna and the Elders (1610, pre-rape): Rare portrayal of Susanna's distress and rejection of voyeuristic elders, from the female victim's perspective—innovative for its time.
- Self-Portrait as the Allegory of Painting (La Pittura) (1638–1639): Bold embodiment of painting as a female figure, asserting professional identity.
- Self-Portraits as Saint Catherine: Identification with a martyr tortured on a wheel mirrors her trial ordeal, symbolizing endurance and intellectual strength.
Balanced Perspectives and Critiques
While trauma undoubtedly influenced subject choices, over-psychologizing risks reductionism:
- Historical context: Strong women themes were marketable in Baroque art; Gentileschi reused compositions efficiently.
- Critiques (e.g., Elizabeth Cohen, Judith Mann): Seventeenth-century self was collective/social, not modern individualistic. Reducing art to "revenge fantasy" creates new stereotypes, overshadowing technical mastery and broader oeuvre.
- Anachronism: Modern trauma lenses may project contemporary views; her success indicates resilience, not perpetual victimhood.
1
1615-1617 Self Portrait as Saint Catherine of Alexandria
2017 SOLD for € 2.36M by Joron-Derem
Artemisia Gentileschi, a precocious and talented artist, was trained as a painter in Rome by her father the Caravaggian Orazio Gentileschi. She belongs to the same trend : realism of the lines, characters at mid-length, bright colors, neutral background.
She is in her own right a major artist of the post-Caravaggesque period. Like the other women painters of her time, she needs for being able to exercise her job to offer themes where she does not compete with men. She chooses heroic women and allegorical self-portraits with the attributes of humiliated women. Very early she also dares the female nude.
In 1611, aged between 18 and 21, she is raped by a collaborator of her father. This crime reinforces her desire to feature the violent heroism of the women of the Bible against the abuses of men.
Living in Rome is too dangerous for a honest young woman. Ca 1612 the newlywed Artemisia leaves for Florence.
A portrait of Saint Catherine of Alexandria by Artemisia, oil on canvas 71 x 71 cm, was sold for € 2.36M from a lower estimate of € 300K by Joron-Derem on November 19, 2017, lot 69. The proud young woman is holding the attributes of the Egyptian virgin : the martyr's palm and the spiked wheel of her torture.
The contrasted light is Caravaggian, with beautiful colors in thick paint and a challenging gaze. This painting had been sold as is under its dull varnish after several generations in a family. Please watch the video shared by Renault Alexandre.
Artemisia shows her strength in Florence with the terrible theme of Judith. The fashion in painting is then to allegories for which the patrons especially enjoy the self-portraits, and music is a favorite Caravaggian theme.
Her artistic skills are recognized by the Medici Grand Duke and she becomes in 1616 the first woman accepted in the Accademia delle Arti del Disegno.
She is in her own right a major artist of the post-Caravaggesque period. Like the other women painters of her time, she needs for being able to exercise her job to offer themes where she does not compete with men. She chooses heroic women and allegorical self-portraits with the attributes of humiliated women. Very early she also dares the female nude.
In 1611, aged between 18 and 21, she is raped by a collaborator of her father. This crime reinforces her desire to feature the violent heroism of the women of the Bible against the abuses of men.
Living in Rome is too dangerous for a honest young woman. Ca 1612 the newlywed Artemisia leaves for Florence.
A portrait of Saint Catherine of Alexandria by Artemisia, oil on canvas 71 x 71 cm, was sold for € 2.36M from a lower estimate of € 300K by Joron-Derem on November 19, 2017, lot 69. The proud young woman is holding the attributes of the Egyptian virgin : the martyr's palm and the spiked wheel of her torture.
The contrasted light is Caravaggian, with beautiful colors in thick paint and a challenging gaze. This painting had been sold as is under its dull varnish after several generations in a family. Please watch the video shared by Renault Alexandre.
Artemisia shows her strength in Florence with the terrible theme of Judith. The fashion in painting is then to allegories for which the patrons especially enjoy the self-portraits, and music is a favorite Caravaggian theme.
Her artistic skills are recognized by the Medici Grand Duke and she becomes in 1616 the first woman accepted in the Accademia delle Arti del Disegno.
2
1615-1617 Self Portrait as Saint Catherine of Alexandria
2026 SOLD for $ 5.7M by Christie's
A smaller Self portrait as Saint Catherine, oil on panel 32.3 x 24.6 cm, was sold for $ 5.7M from a lower estimate of $ 2.5M by Christie's on February 4, 2026, lot 16.
Compare both self portraits by Artemisia Gentlileschi as Saint Catherine of Alexandria.
Overview
Artemisia Gentileschi (1593–c. 1654), the renowned Italian Baroque painter, frequently depicted herself in the guise of Saint Catherine of Alexandria, a 4th-century Christian martyr tortured on a spiked wheel—a subject with personal resonance following her own experience of torture during her 1612 rape trial. The two paintings in question are both accepted as authentic self-portraits as the saint, from her Florentine period (c. 1615–1617), but they differ significantly in scale, composition, and execution.
1. The 2017 Drouot Painting (Now in the National Gallery, London)
Compare to Uffizi Saint Catherine.
Comparison of Artemisia Gentileschi's Saint Catherine Paintings
Artemisia Gentileschi produced several variations on the theme of Saint Catherine of Alexandria during her Florentine period (c. 1615–1620), reusing preparatory cartoons (transferred designs) for efficiency and to promote her image. The three works discussed here—the two explicit self-portraits (National Gallery, London; and the smaller Christie's lot) and the Uffizi version—form a closely related group, all sharing core compositional elements like the half-length pose, broken wheel, palm frond, and strong chiaroscuro.
Uffizi Saint Catherine of Alexandria (c. 1618–1620)
Key Comparisons
AspectLondon (Self-Portrait)Christie's (Self-Portrait)Uffizi (Saint Catherine)
Date
London : c. 1615–1617
Christie's : c. 1615–1617 (possibly earliest)
Uffizi : c. 1618–1620
Self-Likeness
London : Explicit, direct gaze
Christie's : Explicit, intimate
Uffizi : Implicit (underpainting self-portrait; surface more idealized)
Gaze
London : Direct at viewer (assertive)
Christie's : Similar to London
Uffizi : Upward (ecstatic, devotional)
Headdress
London : Turban/halo
Christie's : Similar adaptations
Uffizi : Elaborate crown (no turban)
Expression & Mood
London : Resilient, personal strength
Christie's : Compact, poignant
Uffizi : Serene, courtly elegance
Technical Notes
London : Base template
Christie's : Early modifications (secular → saint)
Uffizi : Overpainted self-portrait template
Purpose/ScaleM
London : Monumental, public impact
Christie's : Private devotion/cabinet
Uffizi : Likely Medici-related, devotional
Compare both self portraits by Artemisia Gentlileschi as Saint Catherine of Alexandria.
Overview
Artemisia Gentileschi (1593–c. 1654), the renowned Italian Baroque painter, frequently depicted herself in the guise of Saint Catherine of Alexandria, a 4th-century Christian martyr tortured on a spiked wheel—a subject with personal resonance following her own experience of torture during her 1612 rape trial. The two paintings in question are both accepted as authentic self-portraits as the saint, from her Florentine period (c. 1615–1617), but they differ significantly in scale, composition, and execution.
1. The 2017 Drouot Painting (Now in the National Gallery, London)
- Provenance and Sale: Discovered in a French private collection (Boudeville family), sold at Hôtel Drouot, Paris, by Christophe Joron-Derem on December 19, 2017 (lot 69) for €2.36 million (hammer €1.85 million, record at the time). Acquired by dealers and then by the National Gallery, London, in 2018 for £3.6 million.
- Medium and Size: Oil on canvas, approximately 71.5 × 71 cm (half-length figure).
- Description: A dramatic, three-quarter view self-portrait. The figure (Artemisia as Catherine) turns toward the viewer with a direct, confident gaze. She leans on a large broken spiked wheel (her left hand resting atop it, little finger on a spike), holding a martyr's palm frond in her right hand near her chest. Strong chiaroscuro lighting emphasizes her resilient expression, luxurious fabrics, and a subtle halo/turban-crown. The composition is tightly cropped and monumental.
- Provenance and Sale: From a private Italian collection (acquired in Livorno last century, in the same family until recently). To be offered at Christie's New York Old Masters sale.
- Medium and Size: Oil on panel, smaller format: 32.3 × 24.6 cm (about 12 ¾ × 9 ⅝ inches)—a more intimate, cabinet-sized work.
- Description: A closely related but distinct composition, considered one of Gentileschi's earliest self-portraits in this guise. It shows similar iconography (broken wheel, palm frond, self-likeness), but adapted to the smaller scale and panel support. Scholars note evidence of Gentileschi's reuse of cartoons (transfer techniques learned from her father Orazio), with modifications shifting from secular self-portrait elements to fully religious iconography. It shares stylistic affinities with the London version and the Uffizi Saint Catherine, but appears more compact and possibly earlier in conception.
- Scale and Format: The London painting is larger and on canvas, allowing for bolder brushwork and dramatic presence. The Christie's version is smaller and on panel, suggesting it may have been intended for private devotion or a collector's cabinet—more delicate and intimate.
- Composition and Pose: Both use similar motifs (wheel, palm, direct engagement with viewer), derived from reused preparatory drawings. However, the smaller one shows modifications in details (e.g., clothing, lighting, exact hand positions), reflecting Gentileschi's evolving process.
- Date and Style: Both c. 1615–1617, during her productive Florentine years. The Christie's work is potentially slightly earlier, with technical evidence of adjustments from a secular portrait to saintly depiction—mirroring changes seen in the London version.
- Iconographic Significance: Both embody Gentileschi's identification with Catherine's strength and suffering, symbolizing resilience. They relate to her Uffizi Saint Catherine (c. 1619, not a self-portrait), where the same cartoon was reused.
- Condition and Attribution: Both unanimously accepted by experts (e.g., Keith Christiansen, Sheila Barker). The London one underwent restoration post-2017 sale, revealing vibrant colors.
Compare to Uffizi Saint Catherine.
Comparison of Artemisia Gentileschi's Saint Catherine Paintings
Artemisia Gentileschi produced several variations on the theme of Saint Catherine of Alexandria during her Florentine period (c. 1615–1620), reusing preparatory cartoons (transferred designs) for efficiency and to promote her image. The three works discussed here—the two explicit self-portraits (National Gallery, London; and the smaller Christie's lot) and the Uffizi version—form a closely related group, all sharing core compositional elements like the half-length pose, broken wheel, palm frond, and strong chiaroscuro.
Uffizi Saint Catherine of Alexandria (c. 1618–1620)
- Medium and Size: Oil on canvas, approx. 77 × 62 cm.
- Description: A more idealized, courtly depiction of the saint, likely commissioned for or connected to the Medici circle (possibly referencing Caterina de’ Medici). The figure wears an elaborate crown (no turban), gazes upward in spiritual ecstasy, and is adorned in refined, luxurious fabrics. The hand holding the palm frond is elegantly positioned. X-ray analysis (2019, Opificio delle Pietre Dure) revealed an underpainting almost identical to the London self-portrait, confirming Gentileschi reused the same cartoon but modified it: shifting the gaze, adding a crown, and idealizing features for a less personal, more devotional portrayal.
- The Drouot - National Gallery example serves as the "template" for the Uffizi version.
- The intimate, early variant for sale at Christie's displays similar self-likeness, pose, wheel, and palm. It shows evidence of modifications (e.g., from secular to religious elements), closely tied to the same cartoon family as the London and Uffizi works.
Key Comparisons
AspectLondon (Self-Portrait)Christie's (Self-Portrait)Uffizi (Saint Catherine)
Date
London : c. 1615–1617
Christie's : c. 1615–1617 (possibly earliest)
Uffizi : c. 1618–1620
Self-Likeness
London : Explicit, direct gaze
Christie's : Explicit, intimate
Uffizi : Implicit (underpainting self-portrait; surface more idealized)
Gaze
London : Direct at viewer (assertive)
Christie's : Similar to London
Uffizi : Upward (ecstatic, devotional)
Headdress
London : Turban/halo
Christie's : Similar adaptations
Uffizi : Elaborate crown (no turban)
Expression & Mood
London : Resilient, personal strength
Christie's : Compact, poignant
Uffizi : Serene, courtly elegance
Technical Notes
London : Base template
Christie's : Early modifications (secular → saint)
Uffizi : Overpainted self-portrait template
Purpose/ScaleM
London : Monumental, public impact
Christie's : Private devotion/cabinet
Uffizi : Likely Medici-related, devotional
2 bis
for reference
1618-1620 Catherine of Alexandria
Uffizi
The image is shared by Wikimedia.
3
1620 Allegory of Sculpture
2023 SOLD for £ 1.85M by Christie's
An allegory of sculpture has recently been attributed to Artemisia Gentileschi by a similarity in positioning the tilted head of the young woman with the Jael in Jael and Sisera, signed and dated 1620, in the transition between her Florentine period and her return to Rome.
This oil on canvas 67 x 49 cm was sold for £ 1.86M from a lower estimate of £ 300K by Christie's on July 6, 2023, lot 28.
This oil on canvas 67 x 49 cm was sold for £ 1.86M from a lower estimate of £ 300K by Christie's on July 6, 2023, lot 28.
4
1620 Seated Lady
2022 SOLD for $ 2.7M by Sotheby's
After her successful stay in Florence, Artemisia Gentileschi is back in Rome in early 1620. A letter dated March 5, 1620 to a confidant narrates that she was already busy painting a portrait of the Principessa di Albano.
Real portraits are highly rare in the corpus of Artemisia. A female artist of her time could probably not make them openly against the business of male artists.
A portrait of a seated Lady in three quarter length could match that referred work. This unsigned oil on canvas 130 x 98 cm is an achievement by a highly talented artist, displaying a resplendent gold embroidered dress. The reflexion of the sitter in profile in the tiny chair's finial is in the taste of Artemisia. An Albano princess named Caterina, aged 31 in 1620, is a perfect match for the identification of that Lady. The clothing is consistent with the court fashion of that year.
This painting was sold for $ 2.7M by Sotheby's on January 27, 2022, lot 31.
Real portraits are highly rare in the corpus of Artemisia. A female artist of her time could probably not make them openly against the business of male artists.
A portrait of a seated Lady in three quarter length could match that referred work. This unsigned oil on canvas 130 x 98 cm is an achievement by a highly talented artist, displaying a resplendent gold embroidered dress. The reflexion of the sitter in profile in the tiny chair's finial is in the taste of Artemisia. An Albano princess named Caterina, aged 31 in 1620, is a perfect match for the identification of that Lady. The clothing is consistent with the court fashion of that year.
This painting was sold for $ 2.7M by Sotheby's on January 27, 2022, lot 31.
#AuctionUpdate: Artemisia Gentileschi’s 'Portrait of a Woman sells for $2.7 million after a brief bidding battle on the phones. #SothebysMasters pic.twitter.com/h2u7tzdWkQ
— Sotheby's (@Sothebys) January 27, 2022
5
1630s Lucretia
2019 SOLD for € 4.8M by Artcurial
Artemisia Gentileschi is also interested in figures of women from real or legendary history such as Cleopatra or Lucretia at the moment of their suicide.
Lucretia is the raped lady who refused the defilement and whose exemplary suicide led to the fall of the Roman monarchy and the creation of the republic. This legend is painted throughout Artemisia's career. Feminists of our time like to suggest a parallel between the Roman woman and the life of the artist, but this assimilation is not confirmed by in period documents.
Artemisia certainly does not identify her fate with Lucretia shown as a matron in an oil on canvas painted around 1620.
Artemisia had very early painted the female nudes. Her style reaches its greatest maturity from 1630 when she works in Naples. The bodies become more carnal, less schematized. In the case of Lucretia, she makes the spectator regret that such a beautiful lady has chosen to die.
An oil on canvas 133 x 106 cm on the theme of Lucretia is formally attributed to Artemisia in 2015 after being kept since the mid-nineteenth century in an Italian collection. The best connoisseurs of the artist propose a date circa 1640-1645 or slightly earlier. It was sold for € 1.9M by Dorotheum on October 23, 2018, lot 56. Please watch the video shared by the auction house.
That Lucretia is much younger than the earliest version and dressed in brightly colored drapery. Her extremely dynamic Baroque attitude is very similar to a painting on the same theme made around 1625 by Simon Vouet whom Artemisia had met when they were both in Rome. The dagger is held at arm's length, directed straight to the bare chest in a gesture that leaves no doubt about its fatal outcome.
Another variant, 97 x 75 cm, was sold for € 4.8M from a lower estimate of € 600K by Artcurial on November 13, 2019, lot 36.
These two paintings have many similarities. The model is probably the same woman. The diagonal composition with a well-lit body in front of a black background gives a Caravaggesque impetus to this dramatic action. The head which is turned to prevent that a perception disrupts the sacrifice is classic in the imagery of Lucretia.
There are also differences. The rich garment that covers the lower body is characterized by its bright colors on the Dorotheum example and by the fineness of the white embroidery on the Artcurial example. The movement of the Dorotheum Lucretia is theatrical : the blade is still far away, held by a horizontally stretched arm. The attitude of the Artcurial Lucretia is more natural, with a bent arm that directs the dagger toward the skin just before the fatal piercing.
The oil on canvas sold by Artcurial is in an exceptional state of preservation. In the video shared by the auction house, the expert Eric Turquin shows that the emotion wets the eyelashes of the heroine, a very rare effect that is worthy of Rubens in my opinion.
Compare two examples of the Lucretia by Artemisia Gentileschi : Sold by Artcurial on November 13, 2019, lot 36. Sold by Dorotheum on October 23, 2018, lot 56.
Comparison of Two Lucretia Paintings by Artemisia Gentileschi
Artemisia Gentileschi painted the subject of Lucretia—the Roman noblewoman who committed suicide after being raped by Sextus Tarquinius—multiple times throughout her career, reflecting her recurring interest in strong yet victimized female figures. The theme held personal resonance, given her own experience of sexual violence. The two works in question are distinct versions from different periods, showcasing her evolving style.
1. Dorotheum Painting (Sold October 23, 2018, lot 56)
Date
Dorotheum : c. 1630–1635 (Neapolitan period)
Artcurial - Getty : c. 1627 (Venetian influence)
Size
Dorotheum : Larger: 133 × 106 cm
Artcurial - Getty : Smaller: 96.5 × 75 cm
Pose & Composition
Dorotheum : Dramatic, intense physicality; dagger already piercing flesh; bold chiaroscuro
Artcurial - Getty : Poised moment before stabbing; upward gaze, tilted head; elegant foreshortening
Style & Influences
Dorotheum : Neapolitan: Rich colors, violent contrasts, fluid confidence
Artcurial - Getty : Venetian: Swirling drapery, exuberant fabrics, freer brushwork
Expression & Mood
Dorotheum : Inner torment, defiance; powerful and anguished
Artcurial - Getty : Resolute strength mixed with surrender; dramatic tension
Iconography
Dorotheum : Half-length, bare-chested, emphasizing resolve and tragedy
Artcurial - Getty : Similar, but more refined and contemplative
Both depict Lucretia half-length, bare-breasted, holding a dagger to her chest, with dramatic lighting highlighting her resolve. They differ in period-specific influences: the Dorotheum version is bolder and more visceral (Neapolitan drama), while the Artcurial/Getty is more elegant and poised (Venetian sophistication). These variations demonstrate Gentileschi's adaptability and her empathetic portrayal of female agency amid suffering, distinguishing her from male contemporaries who often eroticized the subject.
Lucretia is the raped lady who refused the defilement and whose exemplary suicide led to the fall of the Roman monarchy and the creation of the republic. This legend is painted throughout Artemisia's career. Feminists of our time like to suggest a parallel between the Roman woman and the life of the artist, but this assimilation is not confirmed by in period documents.
Artemisia certainly does not identify her fate with Lucretia shown as a matron in an oil on canvas painted around 1620.
Artemisia had very early painted the female nudes. Her style reaches its greatest maturity from 1630 when she works in Naples. The bodies become more carnal, less schematized. In the case of Lucretia, she makes the spectator regret that such a beautiful lady has chosen to die.
An oil on canvas 133 x 106 cm on the theme of Lucretia is formally attributed to Artemisia in 2015 after being kept since the mid-nineteenth century in an Italian collection. The best connoisseurs of the artist propose a date circa 1640-1645 or slightly earlier. It was sold for € 1.9M by Dorotheum on October 23, 2018, lot 56. Please watch the video shared by the auction house.
That Lucretia is much younger than the earliest version and dressed in brightly colored drapery. Her extremely dynamic Baroque attitude is very similar to a painting on the same theme made around 1625 by Simon Vouet whom Artemisia had met when they were both in Rome. The dagger is held at arm's length, directed straight to the bare chest in a gesture that leaves no doubt about its fatal outcome.
Another variant, 97 x 75 cm, was sold for € 4.8M from a lower estimate of € 600K by Artcurial on November 13, 2019, lot 36.
These two paintings have many similarities. The model is probably the same woman. The diagonal composition with a well-lit body in front of a black background gives a Caravaggesque impetus to this dramatic action. The head which is turned to prevent that a perception disrupts the sacrifice is classic in the imagery of Lucretia.
There are also differences. The rich garment that covers the lower body is characterized by its bright colors on the Dorotheum example and by the fineness of the white embroidery on the Artcurial example. The movement of the Dorotheum Lucretia is theatrical : the blade is still far away, held by a horizontally stretched arm. The attitude of the Artcurial Lucretia is more natural, with a bent arm that directs the dagger toward the skin just before the fatal piercing.
The oil on canvas sold by Artcurial is in an exceptional state of preservation. In the video shared by the auction house, the expert Eric Turquin shows that the emotion wets the eyelashes of the heroine, a very rare effect that is worthy of Rubens in my opinion.
Compare two examples of the Lucretia by Artemisia Gentileschi : Sold by Artcurial on November 13, 2019, lot 36. Sold by Dorotheum on October 23, 2018, lot 56.
Comparison of Two Lucretia Paintings by Artemisia Gentileschi
Artemisia Gentileschi painted the subject of Lucretia—the Roman noblewoman who committed suicide after being raped by Sextus Tarquinius—multiple times throughout her career, reflecting her recurring interest in strong yet victimized female figures. The theme held personal resonance, given her own experience of sexual violence. The two works in question are distinct versions from different periods, showcasing her evolving style.
1. Dorotheum Painting (Sold October 23, 2018, lot 56)
- Provenance and Sale: From a European private collection (since the mid-19th century), never publicly exhibited before. Sold at Dorotheum, Vienna, for €1.88 million (including premium), more than double the €500,000–700,000 estimate.
- Medium and Size: Oil on canvas, 133 × 106 cm (larger format).
- Date and Style: c. 1630–1635 (or up to 1645), during her early Neapolitan period. Influenced by local artists like Massimo Stanzione, with dramatic chiaroscuro, rich colors (white, yellow-gold, deep blue drapery), and fluid brushwork emphasizing physicality and inner torment.
- Provenance and Sale: Rediscovered in a private French collection (Lyon, owned for ~40 years). Sold at Artcurial, Paris, for €4.777 million (including premium), setting a record for the artist at the time. Later acquired by the J. Paul Getty Museum, Los Angeles.
- Medium and Size: Oil on canvas, 96.5 × 75 cm (more intimate scale).
- Date and Style: c. 1627 (or 1630s), likely painted during or around her Venetian sojourn. Shows Venetian influences (Titian, Veronese) with swirling drapery, free brushstrokes, and elegant handling of light and fabric. The composition captures the tense moment just before the act, with careful placement of the dagger.
Date
Dorotheum : c. 1630–1635 (Neapolitan period)
Artcurial - Getty : c. 1627 (Venetian influence)
Size
Dorotheum : Larger: 133 × 106 cm
Artcurial - Getty : Smaller: 96.5 × 75 cm
Pose & Composition
Dorotheum : Dramatic, intense physicality; dagger already piercing flesh; bold chiaroscuro
Artcurial - Getty : Poised moment before stabbing; upward gaze, tilted head; elegant foreshortening
Style & Influences
Dorotheum : Neapolitan: Rich colors, violent contrasts, fluid confidence
Artcurial - Getty : Venetian: Swirling drapery, exuberant fabrics, freer brushwork
Expression & Mood
Dorotheum : Inner torment, defiance; powerful and anguished
Artcurial - Getty : Resolute strength mixed with surrender; dramatic tension
Iconography
Dorotheum : Half-length, bare-chested, emphasizing resolve and tragedy
Artcurial - Getty : Similar, but more refined and contemplative
Both depict Lucretia half-length, bare-breasted, holding a dagger to her chest, with dramatic lighting highlighting her resolve. They differ in period-specific influences: the Dorotheum version is bolder and more visceral (Neapolitan drama), while the Artcurial/Getty is more elegant and poised (Venetian sophistication). These variations demonstrate Gentileschi's adaptability and her empathetic portrayal of female agency amid suffering, distinguishing her from male contemporaries who often eroticized the subject.
6
1638-1640 David with the head of Goliath
2025 SOLD for £ 2M by Sotheby's
David with the head of Goliath is a preferred picture from the stories of the Old Testament. The contrast is dramatic between the young shepherd and the 3 m tall hitherto unbeaten warrior.
While doing his grand tour in 1631 at age 25, Joachim von Sandrart admires such a painting in Naples in the studio of Artemisia 'Gentilesca' (spelled Gentileschi in current days). A life size quietly seated David is holding the huge severed head posed on a table while the sword of the giant is on the ground. This oil on canvas 203 x 152 cm passed at Dorotheum on October 22, 2019, lot 56.
Another view had been painted around 1615 by Domenico Fetti as an oil on canvas 160 x 112 cm. The young man is in a similar position. The top importance in the attributes is now going the proudly held sword while the giant head is now lying in the dark shadow of the chiaroscuro.
An example in the Fetti composition, oil on canvas 202 x 137 cm, passed at Sotheby's in 1975. It was attributed at that time to another Caravaggian, Giovanni Francesco Guerrieri.
In 1996 while the artwork was out of view, the expert Papi working from black and white photos attributed it to Artemisia. Indeed the haughty pride and cool virility of the young man is matching the expressive style of the female artist.
The painting resurfaced in Munich. Just before the sale and after the issue of the catalogue's hard copies, Hampel made their hand on Papi's attribution. It was sold as a Gentileschi for € 104K from a lower estimate of € 25K on December 6, 2018, lot 598.
After cleaning, the signature of Artemisia Gentileschi appeared on the sword beside a date where the last two digits were unfortunately cancelled, confirming Papi's assumption. It was probably executed on commission from King Charles I or for appealing him as a patron while she was in England between 1638 and 1640.
It was sold for £ 2M from a lower estimate of £ 1M by Sotheby's on July 2, 2025, lot 18.
Please watch the video shared by the auction house, also featuring Clara Peeters.
While doing his grand tour in 1631 at age 25, Joachim von Sandrart admires such a painting in Naples in the studio of Artemisia 'Gentilesca' (spelled Gentileschi in current days). A life size quietly seated David is holding the huge severed head posed on a table while the sword of the giant is on the ground. This oil on canvas 203 x 152 cm passed at Dorotheum on October 22, 2019, lot 56.
Another view had been painted around 1615 by Domenico Fetti as an oil on canvas 160 x 112 cm. The young man is in a similar position. The top importance in the attributes is now going the proudly held sword while the giant head is now lying in the dark shadow of the chiaroscuro.
An example in the Fetti composition, oil on canvas 202 x 137 cm, passed at Sotheby's in 1975. It was attributed at that time to another Caravaggian, Giovanni Francesco Guerrieri.
In 1996 while the artwork was out of view, the expert Papi working from black and white photos attributed it to Artemisia. Indeed the haughty pride and cool virility of the young man is matching the expressive style of the female artist.
The painting resurfaced in Munich. Just before the sale and after the issue of the catalogue's hard copies, Hampel made their hand on Papi's attribution. It was sold as a Gentileschi for € 104K from a lower estimate of € 25K on December 6, 2018, lot 598.
After cleaning, the signature of Artemisia Gentileschi appeared on the sword beside a date where the last two digits were unfortunately cancelled, confirming Papi's assumption. It was probably executed on commission from King Charles I or for appealing him as a patron while she was in England between 1638 and 1640.
It was sold for £ 2M from a lower estimate of £ 1M by Sotheby's on July 2, 2025, lot 18.
Please watch the video shared by the auction house, also featuring Clara Peeters.
7
Venus and Cupid
2021 SOLD for £ 2.4M by Christie's
Artemisia Gentileschi was highly talented in the representation of the nude female body, which she expressed with a feminine sensitivity. She made it a core business of her later career. The woman is alone or in a group, sometimes with a Cupid, knowing to mix eroticism and restraint. She draw on the Bible with Susanna and Bathsheba, on mythology with Venus and Minerva, on the Roman legends with Lucretia and Cleopatra.
A Venus embracing Cupid could be the painting by "Gentilesca" listed in 1644 in the collection of Cardinal Barberini. Times change. The nude of perfect female proportions wonderfully reclining with outstretched legs had been overpainted with a drapery. Restored in its original splendor after 2002, this oil on canvas 115 x 160 cm was sold for £ 2.4M from a lower estimate of £ 600K by Christie's on July 8, 2021, lot 41.
Experts do not concur about the date of its execution, in the 1620s or 1630s.
A Venus embracing Cupid could be the painting by "Gentilesca" listed in 1644 in the collection of Cardinal Barberini. Times change. The nude of perfect female proportions wonderfully reclining with outstretched legs had been overpainted with a drapery. Restored in its original splendor after 2002, this oil on canvas 115 x 160 cm was sold for £ 2.4M from a lower estimate of £ 600K by Christie's on July 8, 2021, lot 41.
Experts do not concur about the date of its execution, in the 1620s or 1630s.
#AuctionUpdate Artemisia Gentileschi's 'Venus and Cupid' achieved £2,422,500 in the Old Masters Evening Sale. The superbly drawn figure of Venus in this painting shows a commanding understanding of the female form:https://t.co/thOFeyscWt □ pic.twitter.com/JrOfTPUHjD
— Christie's (@ChristiesInc) July 8, 2021
VIGEE LE BRUN
Intro
Louise-Elisabeth Vigée managed her career perfectly. Before turning 20, she is a member of the Académie de Saint-Luc, which allows her to pursue a professional activity. In 1776 she marries Le Brun, a merchant and restorer of paintings, antiques dealer and painter. In the same year, a commission from the comte de Provence, King Louis XVI's brother, gives her access to the court.
Now known as Madame Le Brun, she is seeking admission to the Académie Royale de Peinture et de Sculpture, in the specialty of history painting. The stakes are bold, both because she is a woman and because she is the wife of an art dealer.
She becomes in 1778 the official painter to Queen Marie-Antoinette. The court highly appreciates her charming and exquisite portraits. Her pictures of the queen, born like her in 1755, are of a young woman dressed simply and audaciously altogether. She will have this comment on that carefree period : "Women were reigning then, the Revolution has dethroned them."
Now known as Madame Le Brun, she is seeking admission to the Académie Royale de Peinture et de Sculpture, in the specialty of history painting. The stakes are bold, both because she is a woman and because she is the wife of an art dealer.
She becomes in 1778 the official painter to Queen Marie-Antoinette. The court highly appreciates her charming and exquisite portraits. Her pictures of the queen, born like her in 1755, are of a young woman dressed simply and audaciously altogether. She will have this comment on that carefree period : "Women were reigning then, the Revolution has dethroned them."
1
1788 The Ambassador
2019 SOLD for $ 7.2M by Sotheby's
The arrival in Paris in July 1788 of three ambassadors from Mysore with a suite of about thirty people is a sensational and picturesque event. Great enemy of the English, the Sultan of Mysore was preparing a new war and hoped to be helped by France. The sumptuous Muslim clothes of his diplomats ensure their credibility.
Madame Vigée Le Brun remembers opportunely that one of her earliest ambitions had been to be a history painter. With the indispensable support of King Louis XVI, she obtains the authorization to paint the portraits of these exotic lords.
On January 30, 2019, Sotheby's sold for $ 7.2M from a lower estimate of $ 4M the full length portrait of the leader of the delegation, lot 48.
This oil on canvas 226 x 136 cm shows the white bearded man holding an oriental sword with curved blade. This composition is reminiscent of the portrait of the young Polynesian prince Omai by Reynolds in 1776. The exotic traveler is shown life-size, standing in front of a landscape in a counter-dive view that increases his dignity.
The image shared by Wikimedia is trimmed on the left and lower edges.
Madame Vigée Le Brun remembers opportunely that one of her earliest ambitions had been to be a history painter. With the indispensable support of King Louis XVI, she obtains the authorization to paint the portraits of these exotic lords.
On January 30, 2019, Sotheby's sold for $ 7.2M from a lower estimate of $ 4M the full length portrait of the leader of the delegation, lot 48.
This oil on canvas 226 x 136 cm shows the white bearded man holding an oriental sword with curved blade. This composition is reminiscent of the portrait of the young Polynesian prince Omai by Reynolds in 1776. The exotic traveler is shown life-size, standing in front of a landscape in a counter-dive view that increases his dignity.
The image shared by Wikimedia is trimmed on the left and lower edges.
2
1789 Self Portrait in Traveling Costume
2024 SOLD for $ 3.1M by Sotheby's
The French Révolution of 1789 forced Madame Vigée Le Brun to exile after 11 highly successful years as official painter of Queen Marie-Antoinette. Disguised with shabby clothes, she reached Italy through Lyon and resumed an intense creative activity in Rome.
A self portrait in pastel on gray paper 48 x 37.5 cm features her in traveling costume in the whole freshness of her twenties while she was already 34 years old. Her clothing is made of a modest dress with a wide collar and short cape. Her curly chestnut hair is bound into a muslin kerchief knotted at the top. The gaze and mouth are engaging.
This pastel was presented by the artist to the director of the Académie de France in Rome who bequested it to Julie, the daughter of the artist. It was sold for $ 3.1M from a lower estimate of $ 700K by Sotheby's on January 31, 2024, lot 11.
A self portrait in pastel on gray paper 48 x 37.5 cm features her in traveling costume in the whole freshness of her twenties while she was already 34 years old. Her clothing is made of a modest dress with a wide collar and short cape. Her curly chestnut hair is bound into a muslin kerchief knotted at the top. The gaze and mouth are engaging.
This pastel was presented by the artist to the director of the Académie de France in Rome who bequested it to Julie, the daughter of the artist. It was sold for $ 3.1M from a lower estimate of $ 700K by Sotheby's on January 31, 2024, lot 11.
Auch auf der Leinwand führt diese Künstlerin ihre Kolleginnen an.
— Barnebys.de (@Barnebysde) February 16, 2024
