The jewel of Sotheby’s forthcoming OId Grasp night public sale on 3 July is one essentially the most vital discoveries made within the class over the previous decade.
David with the Head of Goliath (1620s-30s) by Artemisia Gentileschi, estimated for between £1m to £2m, has been in the marketplace simply twice earlier than: in 1975 it was listed as by Giovanni Francesco Guerrieri; then, in 2018 it was initially listed by Munich public sale home Hampel as ‘College of Caravaggio’ earlier than being modified to Artemisia a couple of days earlier than its €104,000 sale.
The definitive attribution got here in 2020 when, after in depth restoration and evaluation, Simon Gillespie Studio discovered not solely stylistic proof for Artemisia’s hand however her signature, operating down the blade from the hilt of David’s sword: “ARTEMISIA […] / FE[C]I[T] 16[…]”.
The boldness of this gesture, inserting her title on the just-wielded weapon of the sudden hero, is true to type for the artist who famously proclaimed, “I’ll present you what a lady can do”. It’s considered one of a number of cases the place she used her signature as a type of creative self-fashioning. In her portrait of Clio, the Muse of Historical past (1632), Artemisia positioned her signature within the papers beside Clio, thereby writing herself into the pages of historical past.
Much more bravura is her depiction of Jael and Sisera: the heroine holds a chisel to the ear of the tyrant in her left hand, whereas her proper lifts a hammer, making ready to drive it into his cranium. The hammer’s deal with factors the viewer’s gaze in the direction of Artemisia’s signature carved right into a pillar: the instrument that inscribed Artemisia’s title will now vanquish the enemy warrior.
These moments of biblical violence are discovered all through Artemisia’s oeuvre. A number of canvases of Judith and Holofernes—some graphic depictions of the slaughter, others atmospheric renderings of the moments instantly after—have cemented her repute as some of the vital artists of her era. The story of David and Goliath, in some ways an Outdated Testomony companion piece to Judith, is one other she revisited all through her profession.
With the canvas standing at over two metres, the Caravaggesque boy, David, appears to tower over the viewer. Not like different extant variations by Artemisia’s hand, the place he brandishes the enormous’s head for the viewer, right here the attention takes a second to search out it, rising from the darkness on the backside of the canvas.
Some specialists have raised the chance that it was painted throughout her transient London interval of the late 1630s, which might make it solely the third attribution from these years (alongside Self-Portrait because the Allegory of Portray, 1638–39, and Susannah and the Elders, 1610, each discovered within the Royal Assortment). However the work may additionally date from the time she spent in Rome a decade earlier.
The problem of courting the portray is attribute of some of the the distinctive options of Artemisia’s work: her stylistic versatility, as she shifted, tailored, and re-adopted totally different compositions for brand new commissions and patrons. It is without doubt one of the issues that makes her such an exciting artist, in addition to one thing of an enigma.
