A key feature of Gentileschi’s story—the peril of reporting sexual violence—remains indubitably pertinent
, their cloaks billowing, peer over a wall at a bathing woman. The biblical story of Susanna and the Elders—in which the lechers threaten to tell her husband she has been unfaithful unless she has sex with them—was a popular subject for Baroque and Renaissance artists. Rubens, Tintoretto and Rembrandt all painted it. Their Susanna is a temptress; Artemisia Gentileschi’s version , which she painted in 1610 at the age of 17, is different.
A parade of witnesses denounce her as promiscuous. Two midwives examine her body in front of the judge. And, in a barbaric procedure deemed necessary to prove her honesty, cords are tightened around her fingers while she is questioned. “It is true, it is true, it is true,” she pleads, over and over again, until the torture ends.
Her legend has come a long way in a short time. In “Artemisia”, a film released in 1997, Gentileschi is a headstrong young ingénue who falls for her teacher. During the trial—occasioned, in the movie, by Orazio’s fury that his daughter has engaged in sex out of wedlock—Tassi screams, “I love her.” In “Painted Lady”, a television series starring Helen Mirren released in the same year, a murder-mystery is constructed around Gentileschi’s ferocious painting, “Judith Beheading Holofernes” .
Yet a key feature of her story—the peril of reporting sexual violence—remains indubitably pertinent. “We still see all the same victim-blaming and character-assassination that Gentileschi faced,” says Joy McCullough, author of “Blood Water Paint”, a book about the artist for teenagers that was published last year. Sexual assault remains vastly underreported, in part because of a lack of trust in the authorities and fear of public humiliation.
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