A "New" Gentileschi

Nothing we make can last forever. A teacher of mine often said that most of our paintings won't live longer than we do. Another told me that even now, after a career of several decades as a painter, he discards about forty percent of his paintings. So the longevity of our paintings and sculptures may be short. That's no reason to employ shoddy materials nor to ignore proven methods. Although most artwork dies with us, the remainder should still be durable and permanent enough to last. Those ideas came to mind with the discovery of a centuries-old lost work by Artemesia Gentileschi (1593-1656) being widely reported in the last few days. According to news reports the mis-identified painting was damaged severely in an explosion and will require a great deal of restoration.

Artemisia Gentileschi, "Susanna and the Elders," 1610

I posted about the painter and her work a couple of years ago. Briefly, she was one of the most successful painters in Europe during the early 17th century. Ms. Gentileschi was born in Rome and trained under the tutelage of her father Orazio, himself a very successful and well-known painter. Her natural aptitude meant that she mastered oil painting while still in her teens. "Susanna and the Elders" (right) dates to her 17th year. The composition, draftsmanship, drapery and cloaks, fluid figural and facial gestures plus her clear mastery of color demonstrate her skills. The influence of Caravaggio (a contemporary of her father) is evident, too.

Not long after she painted Susanna and the Elders Ms. Gentileschi was attacked by a man who worked in her father's studio, and raped. Her father had the man prosecuted (which is why the story is known). She married a painter from Florence not long after and moved there after the trial. Her career there was so successful she was the first woman admitted to the prestigious Accademia delle Arti del Disegno. She moved to Rome after about a decade, where her career continued to flourish. Besides Rome she later lived and worked in Venice, and in England at the invitation of King Charles I (her father was court painter at the time). 

Damaged Gentileschi painting--note the huge tear across and over Hercules' knee (photo: NY Times)

Neglected for a long period, her work has become considerably more popular over the last century. Now, a painting known as "Hercules and Omphale" is being authenticated as one of her works. Previously considered work of an unknown, the 6'x8' work suffered significant damage in the huge explosion in Beirut a few years ago. It had hung in a nearby mansion for many years. Today the work is undergoing extensive restoration at the Getty in Los Angeles. Already, many glass fragments have been removed (it was near a window) and stabilization, repair of tears up to 20 inches long, relining, filling losses and relining must be completed before the work is retouched. It will likely require several years' work. There are only about 60 known works by this incredible master.