Self Portrait as Allegory of Painting. Self-Portrait as the Allegory of Painting, also known as Autoritratto in veste di Pittura or simply La Pittura, was painted by the Italian Baroque artist Artemisia Gentileschi.
The oil-on-canvas painting measures 96.5 by 73.7 centimetres and was probably produced during Gentileschi's stay in England between 1638 and 1639. It was in the collection of Charles I and was returned to the Royal Collection at the Restoration and remains there.
In 2015 it was put on display in the Cumberland Gallery in Hampton Court Palace. The scene depicts Gentileschi painting herself, who is in turn represented as the Allegory of Painting illustrated by Cesare Ripa.
It is now in the British Royal Collection. The painting demonstrates rare feminist themes from a time when women seldom held jobs, let alone were well known for them.
Gentileschi's portrayal of herself as the epitome of the arts was a bold statement to make for the period. Though the painting is today overshadowed by many of Gentileschi's other, more dramatic and raw scenes reflecting the artist's troubling younger years, Self-Portrait was very controversial in its time. That it is a self-portrait as well as an allegory was first proposed by Michael Levey in the 20th century, and is not universally accepted, as some art historians see the features of the figure here as too different from those in other portraits of the artist. Gentilesch
The oil-on-canvas painting measures 96.5 by 73.7 centimetres and was probably produced during Gentileschi's stay in England between 1638 and 1639. It was in the collection of Charles I and was returned to the Royal Collection at the Restoration and remains there.
In 2015 it was put on display in the Cumberland Gallery in Hampton Court Palace. The scene depicts Gentileschi painting herself, who is in turn represented as the Allegory of Painting illustrated by Cesare Ripa.
It is now in the British Royal Collection. The painting demonstrates rare feminist themes from a time when women seldom held jobs, let alone were well known for them.
Gentileschi's portrayal of herself as the epitome of the arts was a bold statement to make for the period. Though the painting is today overshadowed by many of Gentileschi's other, more dramatic and raw scenes reflecting the artist's troubling younger years, Self-Portrait was very controversial in its time. That it is a self-portrait as well as an allegory was first proposed by Michael Levey in the 20th century, and is not universally accepted, as some art historians see the features of the figure here as too different from those in other portraits of the artist. Gentilesch
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