Artemisia Gentileschi, 'Self Portrait as Saint Catherine of Alexandria', about 1615-17
About the work
Overview
Artemisia Gentileschi, the most celebrated female artist of the seventeenth century, appears in the guise of Saint Catherine of Alexandria, a Christian saint martyred in the early fourth century. She leans on a broken wheel studded with iron spikes, to which she was bound and tortured, and which became her standard attribute in art. Her right hand, delicately holding a martyr’s palm between thumb and forefinger, is brought to her chest.
The saint is portrayed as resilient, having endured torture – as indeed the artist herself did during the trial following her rape at the age of 17 by the painter Agostino Tassi. After the trial Artemisia moved from Rome to Florence, where this painting was probably made. She seems to have used her own image frequently in works she produced in Florence – a number of self portraits are known and others are recorded in seventeenth-century inventories. New to the city and keen to demonstrate her talent, she may have painted such pictures in a conscious act of self-promotion.
Key facts
Details
- Full title
- Self Portrait as Saint Catherine of Alexandria
- Artist
- Artemisia Gentileschi
- Artist dates
- 1593 - 1654 or later
- Date made
- about 1615-17
- Medium and support
- oil on canvas
- Dimensions
- 71.4 × 69 cm
- Acquisition credit
- Bought with the support of the American Friends of the National Gallery, the National Gallery Trust, Art Fund (through the legacy of Sir Denis Mahon), Lord and Lady Sassoon, Lady Getty, Hannah Rothschild CBE, Mrs Mollie W. Vickers, the Hon. Mrs Ashley Dawson-Damer, The Society of Dilettanti Charitable Trust Fund, Mr Andrew Green QC and Ms Hirschl, Mr Matthew Santos and Mrs Mary Kuusisto, Mr Peter Scott CBE QC and Dr Richard Ballantine, the Diane Apostolos-Cappadona Trust, Mr Stephen Allcock, Mr James and Lady Emma Barnard, Miss Maxine White and Mr James Mortimer, Michael and Felicia Crystal, The W T J Griffin Charitable Settlement and other donors including those who wish to remain anonymous, 2018
- Inventory number
- NG6671
- Location
- Room 32
- Collection
- Main Collection
- Frame
- 17th-century Italian Frame
Provenance
Additional information
This painting is included in a list of works with incomplete provenance from 1933–1945; for more information see Whereabouts of paintings 1933–1945.
Text extracted from the ‘Provenance’ section of the catalogue entry in ‘National Gallery Catalogues: Online Entries’, London 2024; for further information, see the full catalogue entry.
Exhibition history
-
2019Artemisia visitsGlasgow Women's Library6 March 2019 - 19 March 2019Pocklington General Practice29 April 2019 - 11 May 2019Sacred Heart Catholic High School14 May 2019 - 17 May 2019HMP Send20 May 2019 - 22 May 2019Wood Street Library1 June 2019 - 16 June 2019
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2020ArtemisiaThe National Gallery (London)3 October 2020 - 24 January 2021
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2021By Her Hand: Artemisia Gentileschi and Women Artists in Italy, 1500–1800Wadsworth Atheneum Museum of Art30 September 2021 - 9 January 2022The Detroit Institute of Arts6 February 2022 - 29 May 2022
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2022Artemisia Gentileschi in NaplesGallerie d'Italia - Palazzo del Banco di Napoli1 December 2022 - 20 March 2023
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2024National TreasuresIkon Gallery10 May 2024 - 8 September 2024
Bibliography
-
2019National Gallery, The National Gallery: Review of the Year, April 2018 - March 2019, London 2019
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2024The National Gallery, National Gallery Catalogues: Online Entries for Individual Paintings, London 2024
Frame
This seventeenth-century Italian reverse-moulded frame is crafted from poplar wood. It retains its original ebonised glossy finish, accented with gilded fillets on the mouldings surrounding the frieze. The frieze features oil-gilded ornaments at the corners and the centres: at the corners are scrolling foliate motifs, and the centres have a daisy-like flower head. Both motifs are accentuated with dotted lines along their edges.
This frame was fitted to Gentileschi’s Self Portrait as Saint Catherine of Alexandria in 2000.
About this record
If you know more about this painting or have spotted an error, please contact us. Please note that exhibition histories are listed from 2009 onwards. Bibliographies may not be complete; more comprehensive information is available in the National Gallery Library.