Artemisia Gentileschi became one of the great painters of the Baroque era, and the first woman admitted to Florence's academy of art. This is the story of the trial she endured at 18, and the painting that followed. She stood up in court, endured torture so that she would be believed, and then painted a woman beheading a man. In May 1611, 17-year-old Artemisia had a gift for painting and a father who wanted it trained. He invited a landscape painter, Agostino Tassi, into the house to teach her perspective, the architectural skill that women were usually denied. Tassi was 32. He raped her there. Afterward he promised to marry her, which would have restored her family's honor, and she believed him. She kept working with him for months. Then her father realized that Tassi was already married and was only stalling to avoid legal trouble.
Artemisia Gentileschi: The Trial Behind the Painting
In 1612 Artemisia Gentileschi endured torture to testify against her rapist, then painted Judith beheading a general.
A Promise to Marry
Frequently Asked Questions
What was the sibille that Artemisia Gentileschi endured?
The sibille was a form of judicial torture in which cords were wrapped around her fingers and pulled tight. The judge ordered it because Tassi denied the assault and the law required a witness's word to be tested. Tassi himself was not tortured, because the court did not want to damage his painting hands.
What happened to Agostino Tassi after he was found guilty?
On November 27, 1612, he was given a choice between five years in the galleys and permanent exile from Rome. He chose exile, but the sentence was never strictly enforced because powerful patrons, including the Pope's nephew, protected him. He stayed in Rome for years and kept receiving prestigious commissions.
Why is Judith Slaying Holofernes linked to Artemisia's trial?
Art historians frequently read the first version as an act of psychological revenge, painted shortly after the trial. They note that her Judith is muscular and works with a determined maidservant, unlike Caravaggio's delicate Judith. They also observe that the face of Holofernes resembles Agostino Tassi.
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