THE PHENOMENON OF WOMEN ART OF ARTEMISIA GENTILESCHI IN THE EARLY MODERN PERIOD OF ITALIAN CULTURE
Abstract
The aim of the article. Based on the anthropocentric approach to the analysis of visual self-presentations of Artemisia Gentileschi in paintings to present the artwork as the phenomenon in the early modern period of Italian culture, as self-objectification of the artist, which give rise to a new cultural reality.
The methodology of scientific search based on the principles and methods of philosophical and anthropological research in combination with biographical, historical and comparative, iconographic, figurative and stylistic methods were used in writing the article. Among philosophical and anthropological methods the principle of anthropological reduction was used, based on which the works of Artemisia Gentileschi were analyzed as her self-objectification, principle of extrapolation of a separate fact (rape) of the painter's life and anthropological interpretation of art evolution, when an attempt is made to know their creator through a series of chronological consistent works as figurative objectification. The biographical method was used when working with data on the painter's life, iconographic and figurative stylistic (techniques of composition, narrative, color characteristics) - when analyzing the art visuals: self-portraits, allegories and narrative paintings.
Results. The analytical work was carried out in stages as transition from an iconographic interpretation of paintings with gradual elimination of art and style characteristics as extra-anthropological cultural constants with subsequent anthropological reduction of cultural image.
The scientific novelty consists in the author's method of analyzing the works of visual art in terms of anthropocentric approach, as well as in considering the artwork of Artemisia Gentileschi as her self-objectification as such that give rise to a new cultural reality.
The practical significance of the article. The artworks of Artemisia Gentileschi in diachronic deployment can be seen as the phenomenon in the early modern period of Italian culture, as the painter's self-objectification, which traces the evolution of self-expression from a person with traditional self-perception by social gender stereotypes (1610) to the phenomenon of personal life, which will determine further evolution of her self-identification (rape in 1611) and extirpation of sense of shame through virtual revenge (self-expression in the cycle of Judith), repentance (cycle of Mary Magdalene), guilt (cycle of Lucretia), and formation of component of the painter's identity as exemption from social gender prejudices and stereotypes on roles and standards of behavior socially assigned to women (cycle of Susanna).
