https://upload.wikimedia.org/wikipedia/commons/d/d4/Elisabetta_Sirani_-_Judith_with_the_Head_of_Holofernes_-

mad meg CC BY 15/01/2018

https://vcrfl.files.wordpress.com/2011/12/timoclea.jpg?w=640

ici la fiche wikipédia en français assez courte : ▻https://fr.wikipedia.org/wiki/Elisabetta_Sirani
et la version anglaise bien plus complète : ▻https://en.wikipedia.org/wiki/Elisabetta_Sirani
Merci pour la découverte @palestine___________

mad meg CC BY

Palestine | فلسطين 15/01/2018

Merci à toi @mad_meg & bonne journée :)

Palestine | فلسطين

mad meg CC BY 15/01/2018

https://upload.wikimedia.org/wikipedia/commons/thumb/1/19/Elisabetta_Sirani_-_Portia_wounding_her_thigh.jpg/1600px-Elisabetta_Sirani_-_Portia_wounding_her_thigh.jpg

This painting is often understood from a feminine perspective. The image consists of a somber background and a large Portia clad in red wielding a knife above her already bleeding, exposed thigh. Many feminist scholars regard this as an image of a strong-willed woman. According to Plutarch, the original teller of the story of Portia wounding her thigh, Portia harmed herself greatly to prove to her husband, Brutus, that she could share in his burdens and secrets. The idea was to convince her husband of her strength of will. However, modern scholars reflect how this image may not be as feminist in its message as others have interpreted. Modern scholars argue that the necessity of self-mutilation to prove a woman’s strength of will in order to have access to her husband’s thoughts questions such a feminist reading. Furthermore, a sadomasochistic sexuality is latent in Portia’s exposed thigh, loosened robe, poised knife, and her snake-like headdress. The seventeenth century was rife with dark, sexual, violent, and disturbing images, so it is not surprising that Sirani chose a heavy, closed atmosphere with somber lighting and rich colours. This mode of representation reflects her teacher, Guido Reni, as opposed to Artemisia Gentileschi, whose work is often held up against Sirani’s. In this painting, Sirani confirms Reni’s overarching sexual ideology, while Gentileschi’s work often disrupted this.

#proto-féminisme #féminisme #art #peinture

Certaines des peintures d’Elisabetta Sirani furent attribuées à un homme, Guido Reni.

Je note au passage que le motif de la décapitation masculine est présent chez cette artiste comme c’est le cas chez Artemisia Gentileschi