Sonia Esmaeillou
For Art History course
This research aims to explore how Artemisia Gentileschi's “Judith Beheading Holofernes” (1620) and Gian Lorenzo Bernini's “Ecstasy of Saint Teresa” (1647) conveys female agency and sexualized religious ecstasy respectively in Baroque art. Specifically, the focus is on how Gentileschi's use of realistic scenes creates a more gender-empowering narrative in comparison to Bernini's erotic portrayal at that time.
Gentileschi's depiction of Judith's decisive act and Bernini's portrayal of Saint Teresa's ecstatic (sexual) experience diverge in their interpretation of the female biblical figure, showcasing the male and female gaze while portraying them. In what ways do Gentileschi's depiction of Judith and Bernini's portrayal of Saint Teresa challenge or conform to gender norms relevant in Baroque society? Through my research, I intend to show that Gentileschi's method of using realistic imagery in “Judith Beheading Holofernes” creates a more female-empowering narrative compared to Bernini's erotic portrayal of “Saint Teresa's Ecstasy”. Specifically, Gentileschi uses realism to highlight female agency, challenging traditional gender roles and power dynamics common in Baroque society.
This essay examines intrinsic features like composition and style, investigating how the artists used visual elements to convey gender narratives—alongside extrinsic factors such as religious and societal influences, and how the personal backgrounds of the artists influenced their representations of gender and spirituality in Baroque art, giving insight into how these elements shaped the creation and reception of the artworks. Through this research, I aim to shed light on the broader Baroque-era perceptions of gender roles. I will provide an overview of Artemisia Gentileschi's life, highlighting how her personal experiences as a female artist in a male-dominated society influenced her portrayal of Judith's empowerment. Then I will go over Bernini's background and the societal context in which "Ecstasy of Saint Teresa" was created, examining how Bernini's portrayal of Saint Teresa's body language reflects female spirituality and sexuality. Finally, I will compare and contrast the two artworks.
Artemisia Gentileschi, one of the most renowned female artists of the Baroque period, painted “Judith Beheading Holofernes” in 1620. This artwork depicts the biblical scene of Judith, a widow, and her maidservant beheading the Assyrian general Holofernes, thus saving her people. Her portrayal of Judith's decisive act is notable for its realism and intensity, capturing the exact moment with vivid detail. The composition is dynamic, with Judith and her maidservant forcefully restraining Holofernes while she holds the sword with determination. The use of chiaroscuro, a technique popular during the Baroque period, adds depth and drama to the scene, emphasizing the contrast between light and shadow.
Gentileschi's depiction of Judith challenges traditional gender roles by presenting her as a strong and capable woman taking matters into her own hands. In Baroque society, women were often put down to passive roles, expected to be submissive and obedient. However, Gentileschi overturns these expectations; Her use of realism humanizes Judith, allowing viewers to empathize with her pain and struggle and to admire her courage instead of her beauty. By empowering Judith, Gentileschi challenges the notion that women are inherently weak or inferior to men.
Gentileschi's early life was affected by a tragedy when she was raped by Agostino Tassi, a fellow artist working for her father at seventeen. The subsequent trial was highly publicized and traumatic for Gentileschi, causing her to move to Florence. The experience of sexual violence greatly influenced Gentileschi's work, particularly her portrayal of strong and assertive women. “Judith Beheading Holofernes” is often interpreted as an expression of Gentileschi's own rage and defiance in the face of male oppression. Moving to Florence also served as a catalyst for her artistic development and while there, Artemisia became the first woman to be accepted into the prestigious Accademia delle Arti del Disegno which allowed her to buy her own art supplies without the permission of a man and to sign her own contracts.
On the other hand, Gian Lorenzo Bernini, born in 1598, was a natural talent from a young age. Raised in a family of sculptors and artisans, Bernini received extensive training in sculpture and architecture, eventually becoming one of the most celebrated artists of the Baroque period. His patronage included powerful figures such as Pope Urban VIII, who commissioned him to create numerous sculptures and architectural projects for the Vatican and other prominent institutions.
Bernini's “Ecstasy of Saint Teresa” created in 1647, portrays a very different female figure. Saint Teresa of Ávila was a Spanish nun and mystic known for her ecstatic religious experiences. In Bernini's sculpture, Saint Teresa is depicted in a state of divine rapture, her face contorted in ecstasy. The composition is sensual and intimate, with Saint Teresa reclining back while the angel lifts up her garments to pierce her with an arrow of ‘divine love’. Bernini chose to depict this moment in her autobiography, where she described one of her mystical experiences:
“The entire body contracts; neither foot nor arm can be moved. If one is standing at the time, one falls into a sitting position as though transported, and cannot even take a breath. One only utters a few slight moans, not aloud, for that is impossible, but inwardly, out of pain.”
(Teresa; Peers, 1957)
Bernini's portrayal of Saint Teresa has been interpreted as highly eroticized, with some critics suggesting that it borders on the pornographic. The sculpture's emphasis on Saint Teresa's physical ecstasy and the suggestive positioning of her body instead of the spiritual experience has led to debates about the depiction of female sexuality in Baroque art. Unlike Gentileschi's Judith, who exudes strength and agency, Saint Teresa appears passive and submissive, her body seemingly overcome by external forces.
Saint Teresa was canonized (made a saint by the Church) twenty-three years before Bernini's work, so he did not have a pre-established image of her, unlike the early saints. In the few depictions of her, she is shown as a humble nun, with a lack of femininity to emphasize her humility. (see Saint Teresa of Ávila's Vision of the Holy Spirit (1612) by Rubens.)
Unlike these works, Bernini’s sculpture depicts a young and beautiful woman; in her book, Saint Teresa claims to have had her first mystical experience at the age of 45, which Bernini disregards. this choice of Bernini’s, together with sculpting half-closed eyes and body thrown back with bare feet, has led contemporaries to associate Bernini’s sculpture with eroticism.
The contrast between Gentileschi's “Judith Beheading Holofernes” and Bernini's “Ecstasy of Saint Teresa” reflects the broader societal attitudes towards gender and sexuality during the Baroque period. While Gentileschi challenges traditional gender roles by presenting Judith as a strong and independent woman, Bernini's portrayal of Saint Teresa reinforces stereotypes of female passivity and vulnerability. However, it is important to note that both artworks were created within a patriarchal society, and their interpretations are influenced by the cultural norms and expectations of the time.
In conclusion, Artemisia Gentileschi's “Judith Beheading Holofernes” and Gian Lorenzo Bernini's “Ecstasy of Saint Teresa” offer contrasting portrayals of female agency and sexualized religious ecstasy in Baroque art. Gentileschi's realistic depiction of Judith challenges traditional gender roles and empowers women, while Bernini's eroticized portrayal of Saint Teresa reinforces stereotypes of female passivity.
Sources:
Chadwick, Whitney. Women, Art, and Society. 5th ed. London: Thames & Hudson, 2012. Print.
Straussman-Pflanzer, Eve. Violence & Virtue : Artemisia Gentileschi’s Judith Slaying Holofernes. First edition. Chicago, Illinois: The Art Institute of Chicago, 2013. Print.
Buci-Glucksmann, Christine. The Madness of Vision : On Baroque Aesthetics. Trans. Dorothy Zayatz Baker. Athens, Ohio: Ohio University Press, 2013. Print.
Lowry, Elizabeth. “No Man Could Stop Her.” TLS, the Times Literary Supplement6134 (2020): n. pag. Print.
Nobus, Dany. “The Sculptural Iconography of Feminine Jouissance: Lacan’s Reading of Bernini’s Saint Teresa in Ecstasy.” The Comparatist39.1 (2015): 22–46. Web.
Petersson, Robert T. (Robert Torsten). The Art of Ecstasy; Teresa, Bernini, and Crashaw.[First American edition]. New York: Atheneum, 1970. Print.