Tag: art

Posted on

Valuable Donations

The of a donation to a national gallery is often a curse but may reveal only much later as a blessing. More galleries across the world give due credit to their generous donors. The collection of impressionist paintings by Caillebotte figures today very promising in the Musée d’Orsay in Paris. The fine collection by Chistoph Müller endowed to today‘s “Kupferstichkabinett” exposed in the Gemäldegalerie in Berlin has been on display in a small room. The „Kräuterblätter” (herbes on paper) by Kolbe 1815/1824 are fine pieces of etching with a focus on what might get lost in our biodiversity in coming years. Old trees were surely on his list (Oak trees 500+ years old). A collection of depictions of herbs and flowers a part of an ecological treasure which the generations after the painter and eventually the collector Christoph Müller began to value a lot. Some collectors are far ahead of their time by treasuring the past. (Image: Extract of „Kräuterblatt mit Schnitterin“ Kolbe 1815/24 Donation Christoph Müller shown in Gemäldegalerie Berlin 2026-5)

Posted on

Portrait of or about

In some galleries or for curators of an exhibition, the crucial question is not only the overall message, but the best positioning of artworks in the available space. In many national galleries what hangs next to another piece is rarely seen as an opportunity for exploration and experimentation. A recent visit to the “Gemäldegalerie“ in Berlin allowed to explore the vicinity of 2 paintings, which are very different in appearance. The one (by Pierre Subleyras 1740) is just entitled “Portrait of a woman”, the other one next to it, “Virgin and Child Enthroned, with Angels and Two Saints, Domenico Mondo 1773). The former portrait has almost a modern touch to it as the beauty consists in the simplicity of the person depicted, whereas the latter painting portrays a rather empty message of splendor and power. The conscious confrontation of portraits or paintings with each other is the high art of curatorship. It is even more pointed than a guided tour of a gallery as the simultaneous rather than the sequential confrontation is the issue. 

Posted on

Woman artist scandal

The painter Hermine Schmidt-von Preuschen, little known today, had to face strong forces in the established art community of her time. The skills and audacity she displayed at an early stage of her career as painter is epitomized in her work “Imperator Mors”. This painting dates back to 1887 and was rejected by the art academy in Berlin for their official exhibition. The woman artist was already at that time confident enough that her painting was of sufficient quality to deserve to be not only considered in the exhibition, but also to be seen by larger audiences. Similar to the refused painters of the impressionist movement, she decided to mount her own exhibition. The turnout to this proved to be quite a success according to the press cuttings presented as part of the exhibition in Berlin at the “Alte Nationalgalerie” 2026-5. Maybe it was the intended philosophical topic or message that killed the chances to be part of the art academy exhibition. “Imperator Mors” shows death or a skeleton to be the ultimate ruler of our fate. For all those who believe in some sort of life after death, this can be viewed as a “Scandal” in itself. The scandal created with such a depiction probably overshadowed the fact that the provocation came from a woman artist. Still very avantgarde for the end of the 19th century. (Image: Hermine Schmidt-von Preuschen and her painting Imperator Mors 1887)

Posted on

Brancusi polyartist

The joint exhibition by the “Neue Nationalgalerie” Berlin and the “Centre Pompidou” Paris has the simple title “Brancusi”. The name of the artist Brancusi stands for a very singular approach to take sculpture into the 20th century by way of abstraction. Brancusi used all sorts of materials like lime stone, bronze, wood and marble. Additionally, he was very conscious of the fact that especially for sculptures the “mise en scène” plays a vital role. Brancusi excelled in this in a rather unique way, mostly by confronting different materials with each other. Sculptures, for him, were architecture in miniature. Such a polyartist approach to sculpture pushed him to use photography and video to not only promote his own work, but to exploit these relatively new techniques to enhance the effect of his sculptures.
Maybe it took almost 100 years that by means of the “not-so-social media” not-instant, anytube and tikytok, this “modus operandi” would capture a whole generation of youth to follow in his footsteps without knowing it. The polyartist Brancusi is a unique milestone, not only using lime stone, on the trajectory of sculpture beyond the early 20th century. The links to other innovative artists chosing abstraction, Picasso or Modigliani, as well as musicians like Eric Satie, reflect the importance of social networks for mutual encouragement when treading new paths in art.

Posted on

Random randomness

In textbooks or courses of statistics, just as ordinary experiences with throwing a dice, we assume the perfect dice. This means the dice is assumed to have equal probabilities to roll on each side. Further, each throw of the dice of a sequence has an independent equal chance for each number to come up. To determine a “fair” dice we would throw the dice a thousand times to check, whether the probability of each side is about equal. However, the world of dices is not perfect and temporary or persistent margins of deviation are part of the real world. The weekly lotteries demonstrate this over and over again. Playing around with different shapes of dices makes the issue of probability tangible. Well worth to explore further empirically as well as a topic for inspiration of new approaches to learning about statistics. (Image: Dices produced by “devinsdice” Berlin 2026-5-5)

Posted on

Forgotten but Unforgettable

Many women painters and artists who worked during the 17th and first half of the 18th century have been forgotten until recently. The galleries of the time and many years later gave little attention to the women artists of that time. Most of them were relegated to be of minor importance in the course of art history. The exhibition of the Museum of the Fine Arts Ghent in Belgium has accomplished to rectify this place of women painters in art history. The fine pieces of art, ranging from painting to sculptures, were frequently signed by men, probably to achieve higher market values and become visible in the public sphere at all at their time.
The exhibition is a kind of a revelation of how difficult it was for women to move from an “object of art” to be the subject painting including painting themselves. This also dealt with the view or regard of others towards women. Additionally, the exhibition features a section on “Social Expectations”, which deals with the expectations of the Flemish and Dutch societies towards women. Family values, marriage, wealth and social status were of utmost importance.
These women painters were forgotten far too long, but have staged their comeback as “Unforgettable” in the 21st century.
(Image: “Pictura at an exhibition” taken in the MSK Ghent 2026-4)

Posted on

Before and After

It is not always easy to precisely identify the state of before a transformation from the state of after a transformation. In human developments we can observe lengthy periods of for example puberty. Other transformations of biological changes might be more obvious to identify like a broken bone, but a broken heart transformation might be less obvious as it might occur gradually and progressively rather than abruptly. Much the same can be said about illnesses like diabetes or cancer. The task of science is to study the whole process and this includes the theoretical model of such transformations. The arts have dealt with this complexity before and many artifacts take care to show or make explicit the kind of transformation they have undergone. The woodwork by Birkenmaier (before 1687, in catalog of Metamorphosis exhibition, Amsterdam 2026. Image below) is an early example of being honest about original piece and the evolution of the piece of art into the transformed “oeuvre”.

Posted on

Metamorphosis

In the antique writings of Ovid “Metamorphosis” there is an extensive description and mystery about the metamorphosis of several characters. The narrative about various forms of metamorphosis has influenced our perception of change as having a mystic component. The arts before the enlightenment have drawn lots of sceneries of metamorphoses across the centuries. Maybe in form of sculpture this narrative has continued to be present even into the 20th century. The exhibition at the Rijksmuseum in Amsterdam and the essays in the catalog testify to this long shadow of Ovid’s original narrative. No need to mention Kafka as another adept of “Verwandlung” or Rodin, who reveals persons as semi-detached from stone. Wood and the return to ashes shows us the come and go of metamorphosis of human beings. Imagining mankind as a sequence of metamorphoses is a metaphysical as well as sociological perspective of our presence on our planet. (Image: Daphne transformed into a Laurel tree, Bernard Salomon, 1557). 

Posted on

AI Motion Sculpture

At the Festival Noûs in Paris, the collaboration of AI with artists was a major event. Based on the huge collections of the BNF in form of data bases it is possible to join the 3 worlds of library conservation, technological innovation like AI and the imagery of artists. In the preparation of the exhibits and the parallel documentation of the genesis of the exhibits of the artists, the creative potential and process becomes more evident and understandable to broader audiences. The exhibit by Tobias Gremmler, Anatomy of Motion (2026 see below), captures the motion of a dancing body in a sculpture based on a 3D printing of a series of images blended into each other. with a fast photography camera, known from sports images previously, the dynamics of a motion become a tangible sculpture. The intriguing new form is in fact a motion that has been captured or has cristalized or materialized in a permanent fashion. New technologies and materials enter into art as they offer new ways of expression as well. The collection of art and documentation centers shall enter into new phases as well. (Image: Tobias Gremmler, Anatomy of Motion (2026) at BNF 2026-4).

Posted on

Failure as criticism

The production of an object, which does not abide by the norms and conventions of its designated use, can either be considered a failure, a commercial flop or a critical comment on consumerism. In some instances it may even have the intention to produce art rather than a useful product. A tea or coffee pot may serve as such an example of it (see image below). It is designed not to serve tea or coffee in a conventional way. Such an object invites us to think around the corner,  whether we could still use it in the “normal” way. We are forced to innovate as user or we just leave the object aside. The Flops exhibition also included early car examples which used a “Wankel car engine” and the aerodynamic adjusted car model (shape of a peach) of the R14 in its flops collection which were early precursors of a, later on widely followed, car design principle. Such an aerodynamic car design saves energy and therefore increases the reach of the car without refueling or battery charging.

Overall, some supposed failures are more indications that we are not easily prepared to accept behavioral changes or alternative visions of products.

Posted on

Myths debunked

There has been careful research on the use, or not, of color in classical Greek sculpture. More than 40 years of research have documented that what was long believed as monochrome sculptures, have in fact been very colorful specimen. The collection and researchers linked to the “Liebieghaus Sculpture Collection” can be inspected with experimental versions of the colors of the classical Greek time. “Gods in Color”, an exhibition by the Liebieghaus, provides a view of the rich colors of classic statues like the “archer” using the chemicals of the time to produce more or less durable or resistant colors. See also the archaic Greek Sphinks at The Met Museum.
Brinkmann and Koch-Brinkmann have spent close to 50 years on this research and attempts to convince the public of the “monochrome myth” of Greek sculptures. Research alone did not convince people, they seemed to need to see the colorful versions eye to eye to believe. The broader social science interest is to realise how much time it can take to re-establish scientific facts once they have been “eradicated” previously. (Image: Statuettes of classic Greek actors, lower row, BNF Paris)  

Posted on

Art and fashion

There is fashionable art and arty-ish fashion. The links between art and fashion are manifold and new explorations of the link are always an interesting variation of the original theme. The Berlin “Gemäldegalerie“ has added a contemporary perspective in connection with Berlin fashion week 2026 to the already rich collection on the topic. The exhibition confronts the craft of the world of fashion represented by the dresses on actual display with photographs of those dressed worn by models against the backdrop of the historic inspiration. Add sound and video to this format and you will be close to total immersion into the world of art and fashion yourself. Art and fashion may be a part of all us, not only the privileged few in society. It is most of all a question of crafts related to art, design and fashion, which dominates the creative process. A strong message from all involved in the project to the visitors.

Posted on

Paper and Scissors

In order to produce art it is not always necessary to have expensive materials at your disposal. Henri Matisse has demonstrated that paper and scissors can go a long way. With this in mind, the work by Johanna Beckmann, shown in the upper hall of the “Kulturforum” in Berlin, is quite astonishing. Beckmann relied on just paper and scissors, in addition to her paper and pencil work, to illustrate her own texts as well as collections of fairy tales. Her paper cuts of some hobbit stories might be remembered by a whole generation of children and even some of today’s world. Paper cuts and theatre based on such figures have been a cross-cultural treasure. The illustration of stories, but also the creation of own characters might be derived from such cuts using just paper and scissors. The “Kunstbibliothek” and the “Lette-Verein”-academy in Berlin joined forces for this exhibition and they both continue to transmit this creative craft to students actively involved in this “intergenerational exhibition”. Please bring your (grand 😉 children.
All those who travelled to Paris recently will be well aware that at “Montmartre” you can still have your profile cut these days. At this exhibition there is a “do-it-yourself” section, not only reserved to children.

Posted on

Timely timeless

It is very timely to discuss timelessness. Some inventions or artwork appear to have a timeless value. The creation of books has this feature as we have known also a lot about the conservation and restoration of books across centuries. Timelessness is about an open-ended vision of time. In mathematics it is a usual part of the differential equations‘ calculus to handle infinity as an operationalisation or a form of a projection of time into timelessness. Humans have made considerable efforts to create material and, most of all, immaterial goods which try to exist independently from time. Geek or Roman philosophy are with us for more than 2000 years and we still benefit from returning to this original concepts. Egyptian culture and the wall paintings in caves still speak to us, thousands of years afterwards. Each clock suggests that time is advancing, but some treasures achieve the level of a timeless beauty, art or conceptual masterpiece. The more we talk about time, the more we shall cherish timelessness. (Image: Neue Nationalgalerie, Berlin 2026-1, The clock screening)

 

Posted on

Art Utopia

Not all art is utopia, but a lot of it. A series of talks on the issue of utopia in art  (BNF) reminds us on the utopian projects many artists have pursued in the history of art. From a non-believer’s point of view, religious depictions belong to some form of utopian art. Much later art movements proposed to bring art closer to people’s lives by spreading decorative art to objects of the daily lives, like furniture, dresses, jewelry. Different forms of experimentation with materials or art styles reveal a taste for freedom of expression, sometimes of a utopian kind, at least at the time of experimenting. Abstract art opens up thought spaces which may appear like verylong shots into a very distant future. Science-fiction is of course a well known form of dealing with and representing utopian ideas to larger audiences. Maybe it is this curated space of utopia which many people seek when going to exhibitions and galleries. (Image: Giovanni Bellini, Resurrection of Christ, Gemäldegalerie Berlin). 

Posted on

Bodies in motion

Since more than 2.000 years the art of movement and dance has fascinated people and artists. Early statues from Italy, which are exposed in the museum of the Bibliothèque nationale de France (BNF, see image below) testify to this. This form of art has been practiced within Europe and much beyond Europe as well. The human body in motion needs specific preparations and training to reach the levels of artistic performance. Similar to other art forms the skills have to be experienced and learned before you start to play with movements as a form of freedom of expression. Dance is not only a form of expression and identification of groups or generations, but also a discipline of rigor and body care. The fascination of human bodies in motion rather than the ballet of robots or drones, catches our emotions. Even recent songs do not hesitate to make this the central topic of a chanson. (J’aime comment tu bouge, by Claude Bégin) 

Posted on

Headless Saint Dionysius

Denis of Paris stands for the Saint Dionysius, who is reported to have walked after being decapitated as martyr for his christian beliefs by the Romans in the 3rd century, all the way from Paris to St Denis in the suburb of Paris. We do not only find such a statue at Notre Dame in Paris, but also a medieval version in the Bode museum in Berlin. The cathedral of St Denis in Paris became subsequently the place for the coronation and burial of many French kings. The last king who lost his head through the guillotines was Louis XVI. It took almost another 200 years to abolish capital punishment altogether in France. Robert Badinter devoted his career to fight for this appeacement within the nation. (Image: Statue St Denis in Bode museum Berlin).  

Posted on

Freedom of art

Some depictions or statues of the 16th century quite expressive and average expressions of their time. An angel who is playing the lute in a rather extroverted way is amongst the remarkable artifacts we can discover in the Berlin Bode Museum. The Angel playing the lute is an oeuvre by Hans Brüggemann from 1520 in Husum. The angel certainly performed holy music with interesting postures, which resemble more rock stars of the 20th century or youth performing an act of “air guitar”. Artists always tested the limits of the freedom of art and expression. (Image from Brüggemann Angel playing the lute, Bode museum Berlin, 1520) 

Posted on

Polyartist Colette

It is a complex task to do justice to a polyartist like Colette. The curators of the exhibition “Les mondes de Colette” (BNF 2025) Bouvard, Dimerman, Le Bras do a great job to present the biography of Colette, the writer, journalist, dancer in music halls, model (for Matisse) and entrepreneur in all facets of her activities. The role model of an emancipated women as early as the 1910s, 1920s and 1930s. The struggle of women artists in the early years of the 20th century to make a living from art is well documented already. To make a living of writing has always been a challenge if you do cherish your independence and liberty of expression. Versatility in artistic production is one escape route. Colette made a strength of this in diving into different forms of art and professional activities close to the artistic and creative world. In a quite unique way, she became her own muse for her own artistic work; and a character and inspiration exploring many facets of live. The economic misfortune experienced her parents became a source and force of inspiration.
Contrary to the expectations of the market of arts and literature, she did not feel like sticking to just one activity. Her most lasting achievements, probably, were her literary accomplishments for most people, although Matisse immortalized her in his specific style of abstraction.
Polyartists just like Polymaths, make more comprehensive contributions to our experiences.
(Image:Lithographie by Henri Matisse of Colette, exhibition Colette at BNF 2025).

Posted on

Embedded Artists

The Brussels districts have their specific identities. 

The Forêt district is reconfiguring itself rapidly. In addition to the Modern Art Gallery Wiels, It hosts a multitude of diverse artists. Many of them opened their doors to the public as part of the 4 days of Parcours 1190. It turned out to be a truly Inclusive experience in the broadest sense possible. The immersive experience of seeing the work and the artists, some of them in their private homes, created a sense of an embedded connection to their work and personalities. The artists are embedded in the district around them nd the people of the district might feel a bit more connected to the artists surrounding them. The artist has integrated the pink poster of parcour1190 into one of his works under the overarching theme of inclusion. Social inclusion can take many forms, The Brussels district Forêt has added new dimensions to it. (Image entry to Hassan Bouzougarh‘s exhibition on 2025-10-5, Brussels Forêt). 

Posted on

Inclusive images

In the last 2 decades we can observe a strong concern among photographers to broaden the spectrum covered by images beyond well established imagery of non-binary gender. Diversity in imagery has taken a broader scope to extend, for example, the age range of people who are portrayed as central topic of exhibitions. The topic of mental diversity is more recent and needs a similar or even increased sensitivity to do justice to the whole spectrum of people. The photography of people with mental challenges necessitates a much more careful approach to the persons and complex personalities the photographer intends to portray. Trust and the development of trust of more vulnerable persons is a time sensitive process. The work by Charlotte Abramow “Maurice, Tristesse et rigolade” is a fine example of a photographer who portrayed over a long time of taking care of her father, previously a medical doctor, The years of the final stages of the life course of her father have been the subject over many years as the survivor of an extended medical coma had to struggle with the tough challenge of re-learning basic life skills again.
Abramow portrays her father as an actor of his “second life”, where the borders between reality, reconfigurations of his memories,   and “mise en scene” to co-produce the images. The images go far beyond the portrayal of aging and mental challenges as a deficit of persons. Yes, it is an integral part of these persons, but there is so much fun and positive emotions that derive from the intensive collaboration of actor, father and photographer that the images stick with us for a longer time. The presentation of props along with the photos creates an immersive installation, which strengthens the emotional bonding with the inclusive images of the later phase of the life course of Maurice.

Posted on

Sink / Rise

Nick Brandt presented his engaged photographic projects “The day may break” in Brussels at the Hangar Gallery space in Brussels (2025-9-21). The photographic work spans the globe to document and tell the story of a an endangered planet. The environmental and social fabric is at risk of an unprecented scale in the 21st century. Rather than producing hours of documentation, Nick Brandt focuses on images that stick. His “mise en scene” is meant to haunt us. And it succeeds in it. In the best sense of a tradition of a “photographe engagé” he intends to convey messages, even whole narratives to us about and from people in remote places, who are endangered through our inaction or paralysis in front of the challenges posed by global warming and climate change as well as the social and societal consequences.
We can save people from drowning in floods and rising sea levels. The chapter Sink / Rise of this project was produced with people from the Fiji islands who participated in the futuristic scenario of a sunk island. Without accusations, these people question us. Why? How? What for? Where to? – without speaking a word. They spend time in on a sunk island, surrounded, submerged by beautiful, but morbid, turquoise water and the graveyard-like remainders of a broken coral reef. These are photographs not of these people, but about them, about their likely fate, and (very important) produced with them as empowered actors. May they have a chance to rise like a phoenix from the ashes from these photos.
The documentation on the “Making of …” (image below) as part of the same exhibition allows transparency and additional insights into the artist’s work and proceedings.
(Image: Hangar Gallery, Brussels 2025-9-21, On the making of Sink / Rise by Nick Brandt)

 

Posted on

500 years Motherhood

The history of art is full of depictions of motherhood. The catholic church has largely contributed to this phenomenon. Sandro Boticelli created in 1478 his painting of Maria and the child surrounded by singing angels. As Maria is said to know about the tragic fate of her child, her facial expression is rather sad or apprehensive than full of joy. The public acclaim has lasted already for more than 500 years. The women and people who sympathize with this depiction seem to share some of the worries about the future of both mother and child. Apparently, this has not changed over the course of the centuries. In the 21st century such concerns still have a co-determination effect on women to lead to lower fertility rates in most parts of the world. Fertility depictions in art history might serve as early indicator of behavioral changes. Some take centuries to play out. Technological,  medical devices or social policies can amplify such seminal trends. (Image: Sandro Boticelli and disciples , 1478, Gemäldegalerie Berlin)

Posted on

Raffael Madonna

„Mary and the child“ has been the success painting of Raffael around the years of 1500. 3 variants on this topic are presented at the Gemäldegalerie Berlin. Each pose varies only slightly, but each tells a very different story. The Madonna changes the regard from beyond the child, on the child, then to another child. An interesting sequence as such, which puts the relationship with the child also in perspective. The child develops over the sequence from the fast learner into the person with „power grip“ to the one that is spreading benevolence. The different stages of the life course are somehow taking place within a short period of the child. (Image: Raffael, Mary with Child, Gemäldegalerie Berlin)

Posted on

Gentileschi Gentileschi

There are 2 Gentileschis that entered the history of art. Orazio the father and his daughter Artemisia. Orazio painted many scenarios based on the bible. The incestuous relationship between Lot and his daughters is difficult one to portray and to do justice to the moral concerns involved. Artemisia, similarly, did not shun away from difficult stories of the bible and added a personal twist to these stories in putting her face into the biblical depiction. The cruelty of the stories become more explicit this way and maybe also her deviant position to the biblical narrative. (Image: Orazio Gentileschi‘ (1622/23) „Lot with his daughters“ Gemäldegalerie Berlin)

Posted on

Caravaggio Gentileschi

The „Gemäldegalerie“ in Berlin features in the permanent exhibition the famous Caravaggio painting of „Cupid as Victor“ (1601) in the same room with  Orazio Gentileschi‘ (1622/23) „Lot with his daughters“. The paintings show the same technique of painting with the stunning effects of light and shade. Gentileschi‘s own daughter became equally successful as painter applying the same technique and maybe even more recognized as her father. Berlin and Paris jointly allow to trace interesting new perspectives on the history of art from a gender perspective. The male domination in art of the 16th and 17th century was pervasive, but Artemisia Gentileschi a formidable exception. (Image: Caravaggio „Cupid as Victor“, 1601, Gemäldegalerie Berlin)

Posted on

Claudel & Hoetger

It is well known that artists joined other artists and groups to get inspired. The entangled relationship between Camille Claudel and Auguste Rodin has become a special example of the tricky relationship between learning and co-creation or inspiration. The role of galerists in building a reputation for artists is less well understood. The “Alte Nationalgalerie“ in Berlin opens up this black box a bit through juxtaposition of Camille Claudel, Bernhard Hoetger as disciples of Auguste Rodin. The influences are rather obvious, yet each disciple developed her/his unique style. The emancipation was not without frictions. The galerist Eugène Blot organized a joint exposition of both disciples in 1905 in Paris, which is partly reproduced in Berlin 2025. Great work by the curators of the exhibition Yvette Deseyve and Sintje Guericke who managed to bring together unique sculptures from 3+ museums and a great explanation of the links between the artists as well as the proximity of ateliers. (Image: view of showroom in Alte Nationalgalerie Berlin, Claudel & Hoetger 2025)

Posted on

Femmes Photographers

Paris puts 2 women photographer into the spotlight. The MEP and the Musée historique de la Ville de Paris feature a gender perspective on photography. Both photographers have a common starting point in black and white photography.  Each moved on to develop their art into an additional direction later during their career. Marie-Laure de Decker shifted from the early camera technology from black and white images to color photography in the later stages of her career. Agnès Varda moved from her initial b/w photographic work on to the production of videos for cinema, mainly focused on life in Paris from the early 1960s onwards. An evolution over the professional life becomes evident for both through these retrospectives of their respective work. Technologies evolved and became more accessible for artists’ creative expression. Both moved on to adopt new techniques and challenges. Great personal learning experiences and models for today’s challenges.

(Image Marie-Laure de Decker, L’image comme engagement 2025-8 MEP Paris).

Posted on

Gentileschi Heroine

The choice of a woman as heroine in a painting beyond religious topics was innovative in the early 17th century. Artemisia Gentileschi chose Cleopatra as her character in the ultimate scene of Cleopatra‘s life. The heroic act of guiding the poisonous snake to bite her under her arm is the ultimate act of Cleopatra to have served her country and people. As history books are full of male heros Artemisia Gentileschi succeeded in drawing attention to the biased gender stereotypes in art and art history beyond the 17th century.

Posted on

Gentileschi Selfie

Today the production of „selfies“ is all around us. Selfies are shot almost instantaneously and several times a day by use of modern smartphones. About 400 years ago the first woman to produce a selfie was Artemisia Gentileschi. As (one of) the first female painter in art history to have created a painted image of herself (which is transmitted today) Artemisia Gentileschi made history. Her unique biography, style and craftsmanship of the early 17th century in Italy made herself a renowned painter. Her choice to depict herself rather than somebody nobel or rich was quite unusual for the time. The audacious choice of herself as her „sujet“ became even her trademark. Later paintings by her with biblical topics were also subject to her reinterpretation based on herself as the female character in the narrative and image. In this respect her work appears so much ahead of her time that her impressive work speaks to all generations today. (Image: extract of Jael and Sisera by Artemisia Gentileschi 1620, Musée Jaquemart André“ in Paris 2025-8)