Samhällets strålkastare : En ikonologisk analys av Artemisia Gentileschis självporträtt med fokus på samtidens kvinnosyn

Sammanfattning

This essay aims to contribute to the knowledge of Artemisia Gentileschi’s self-portraits by examining how they reflect the European view of women in the seventeenth century. Three of Gentileschi’s self-portraits are being analyzed using Erwin Panofsky’s three-step iconological method. The portraits are: Self-Portrait as Saint Catherine of Alexandria (c. 1615-1617), Self-Portrait as a Lute player (c. 1615-1618) and Self-Portrait as the Allegory of Painting (c. 1638-39). The analysis rests on a feminist theoretical framework and focuses on how the paintings reproduce beauty standards and norms placed on women in seventeenth century Europe, more specifically Italy. Gentileschi presents herself as a saint, musician and allegory, all contemporary popular female personifications that are associated with strong female agency. The essay concludes that Gentileschi’s self-portraits follow prevalent beauty ideals and gender norms, but also indicate displeasure about these standards. She expresses discomfort with societal pressure while still conforming to the norms.