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An astonishing portrait of a woman that will captivate lovers of Gentileschi's paintings and anyone interested in the life of a woman who ignored the conventions of her day and dared to follow her heart.
In her luminous debut, Susan Vreeland told the story of a Vermeer painting that transformed the lives of many owners with its beauty. Now, in her stunning new novel, she tells the story of a painter who transformed Renaissance Italy with the beauty of her work. The Passion of Artemisia chronicles the extraordinary life of Artemisia Gentileschi, the first woman to make a significant contribution to art history.
At age eighteen, Artemisia Gentileschi finds herself humiliated in papal court for publicly accusing the man who raped her —Agostino Tassi, her painting teacher. When even her father does not stand up for her, she knows she cannot stay in Rome and begs to have a marriage arranged for her. Her new husband, an artist named Pietro Stiatessi, takes her to his native Florence, where her talent for painting blossoms and she becomes the first woman elected to the Accademia dell'Arte. But marriage clashes with Artemisia's newfound fame as a painter, and she begins a lifelong search to reconcile painting and motherhood, passion and genius.
Set against the glorious backdrops of Rome, Florence, and Genoa, people with historical characters such as Cosimo de'Medici and Galileo and filled with details of the life of a Renaissance painter, The Passion of Artemisia is the story of Gentileschi's struggle to find love, forgiveness, and wholeness through her art. At once a dramatic tale of love and a moving father-daughter story, it is the portrait of an astonishing woman that will captivate lovers of Gentileschi's paintings and anyone interested in the life of a woman who ignored the conventions of her day and dared to follow her heart.
Sibille
My father walked beside me to give me courage, his palm touching gently the back laces of my bodice. In the low-angled glare already baking the paving stones of the piazza and the top of my head, the still shadow of the Inquisitor's noose hanging above the Tor di Nona, the papal court, stretched grotesquely down the wall, its shape the outline of a tear.
"A brief unpleasantness, Artemisia," my father said, looking straight ahead. "Just a little squeezing."
He meant the sibille.
If, while my hands were bound, I gave again the same testimony as I had the previous weeks, they would know it was the truth and the trial would be over. Not my trial. I kept telling myself that: I was not on trial. Agostino Tassi was on trial.
The words of the indictment my father had sent to Pope Paul V rang in my ears: "Agostino Tassi deflowered my daughter Artemisia and did carnal actions by force many times, acts that brought grave and enormous damage to me, Orazio ...
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