Artemisia Gentileschi: The woman behind the paintings - Allison Leigh

Prevodilac: Milenka Okuka Lektor: Stefan Mitikj

A woman enters an enemy army camp.

Žena ulazi u neprijateljski vojni logor.

When the watchmen stop her,

Kada je stražari zaustave,

she says she’s willing to tell her people’s secrets to the ranking general.

saopštava kako je spremna da oda tajne svog naroda vrhovnom komandantu.

But she isn’t actually a traitor.

Međutim, ona zapravo nije izdajnica.

On her fourth day under the general’s protection,

Četvrtog dana pod komandantovom zaštitom,

she waits for him to get drunk and beheads him,

čeka da se napije i odseca mu glavu,

saving her people from his tyranny.

spašavajući svoj narod njegove tiranije.

This is the biblical story of how the heroine Judith

Ovo je biblijska priča o tome kako je heroina Judita

slays the brutal Holofernes.

pogubila svirepog Holoferna.

It features in countless works of art, including the Sistine Chapel.

Nalazi se na bezbrojnim umetničkim delima, uključujući i Sikstinsku kapelu.

But the most iconic depiction of all was painted by an artist

Najupečatljiviji prikaz pak od svih naslikala je umetnica

who tackled this ambitious scene when she was just 19 years old.

koja se sa svega 19 godina uhvatila u koštac s ovom ambicioznom scenom.

Her name was Artemisia Gentileschi,

Njeno ime je bilo Artemizija Đentileski,

though many scholars refer to her simply as Artemisia, like other Italian masters.

iako je akademici prosto zovu Artemizija, po uzoru na druge italijanske majstore.

So who was Artemisia, and what sets her depiction apart from the rest?

Dakle, ko je bila Artemizija i po čemu se njen prikaz razlikuje od ostalih?

Artemisia received her artistic training from her father Orazio Gentileschi.

Artemiziju je obučavao slikarstvu njen otac Oracio Đentileski.

He tutored her in the dramatic new style of painting pioneered

Podučavao je dramatičnom novom stilu slikarstva čiji je rodonačelnik

by the artist Caravaggio.

bio umetnik Karavađo.

This style, called the Baroque, built upon earlier Renaissance traditions.

Ovaj stil, nazvan barokom se nadogradio na prethodnu renesansnu tradiciju.

While Renaissance artists had focused on imitating the classical Greeks,

Dok su se renesansni umetnici fokusirali na podražavanje grčke klasike,

depicting moments of calmness or poise amidst intensity,

oslikavajući trenutke spokoja i pribranosti usred intenziteta,

Baroque artists emphasized the climactic moment of a story with dynamic action.

barokni umetnici su naglašavali klimaktične trenutke dinamičnih priča.

Baroque works also dial up the drama through composition

Barokna dela takođe pojačavaju dramu kroz kompoziciju

and extreme contrasts of light and dark, called chiaroscuro or tenebrism.

i ekstremne kontraste svetla i tame, nazvane kjaroskuro ili tenebrizam.

Taken together, the effect is a more direct emotional appeal to viewers.

Kada se spoje, njihov učinak je direktinije emotivno obraćanje gledaocima.

Though Artemisia drew from Caravaggio’s style,

Iako je Artemizija bila pod uticajem Karavađovog stila,

by many accounts,

prema mnogim tumačenjima,

her rendering outmatched the older master’s depiction of the same story.

njena verzija iste priče je prevazišla prikaz starijeg majstora.

Like Artemisia, Caravaggio focused on the moment of the beheading,

Poput Artemizije, Karavađo se usredsredio na trenutak odsecanja glave,

dramatically contrasting light and dark and emphasizing the gore.

drastično kontrastirajući svetlo i tamu i naglašavajući krvoproliće.

But his painting lacks the visceral impact of Artemisia’s.

Međutim, njegovoj slici nedostaje organski efekat Artemizijine.

Where Caravaggio’s heroine keeps her distance from the bloody act,

Dok Karavađova junakinja održava distancu od krvavog čina,

Artemisia’s Judith pushed up her sleeves and wedged her knee on the bed

Artemizijina Judita je zavrnula rukave i uglavila koleno na krevet

to counter Holofernes’ resistance.

kako bi se suprotstavila Holofernovom otporu.

Her body has a heft that makes the action believable,

Njeno telo ima držanje zbog koga čin deluje uverljivo,

and the viscous streams of blood soaking the sheets are highly naturalistic.

a zlokobni mlazevi krvi koje upija posteljina su izuzetno realistični.

The blood spraying from the severed artery in Caravaggio’s

Krv koja prska iz presečene arterije kod Karavađa

looks stilted and artificial by comparison.

u poređenju izgleda pompezno i veštački.

And yet this isn't even her most celebrated painting of the scene.

A opet, ovo čak nije ni njena najcenjenija slika ove scene.

She finished this painting in 1613,

Sliku je završila 1613,

shortly after marrying and moving to Florence,

kratko nakon udaje i preseljenja u Firencu,

where she found professional success

gde je ostvarila profesionalni uspeh

following a very difficult period in her life.

koji je usledio nakon veoma teškog perioda u njenom životu.

In 1611, a colleague of her father’s, Agostino Tassi,

Godine 1611, kolega njenog oca, Agostino Tasi,

nicknamed “lo Smargiasso,” or “the bully,” raped her.

s nadimkom „lo Smaragiasso,” ili „siledžija” je silovao.

When Artemisia told her father,

Kada je Artemizija rekla ocu,

he filed charges for the crime of “forcible violation of a virgin”—

predao je tužbu za zločin „nasilne povrede device” -

a designation that meant Tassi had damaged Orazio’s property.

određenje koje je značilo da je Tasi oštetio Oracijevu imovinu.

Rape laws centered almost entirely on young women's bodies

Zakoni o silovanju su se koncentrisali skoro u potpnunosti na tela devojaka

as commodities owned by their fathers.

kao robe koju poseduju njihovi očevi.

Tassi’s trial lasted for seven months,

Tasijevo suđenje je trajalo sedam meseci,

during which Artemisia was subjected to interrogation

tokom kojih je Artemizija podvrgavana ispitivanju

and torture with thumbscrews as she testified against him.

i mučenju vijcima za palčeve dok je svedočila protiv njega.

Tassi was ultimately found guilty,

Tasi je naposletku proglašen krivim,

but his powerful patrons managed to have his sentence revoked.

ali su njegove moćne mecene uspele da mu ukinu kaznu.

Some scholars have suggested that Artemisia started the painting

Neki akademici su pretpostavljali da je Artemizija započela sliku

while the trial was still underway.

dok je suđenje još bilo u toku.

Many have debated whether the rape influenced her work.

Mnogi su raspravljali da li je silovanje uticalo na njena dela.

Artemisia revisited the subject of Judith repeatedly.

Artemizija se često vraćala temi Judite.

One painting shows Judith and her maidservant

Jedna slika prikazuje Juditu i njenu služavku

trying to leave the enemy encampment.

kako pokušavaju da napuste neprijateljski tabor.

Here, Artemisia added a tiny ornament in Judith’s hair,

Ovde je Artemizija dodala sićušni ukras u Juditinoj kosi,

possibly referencing David, the protector of Florence,

možda aludirajući na Davida, zaštitnika Firence,

with a nod to Michelangelo.

i praveći referencu na Mikelanđela.

On the sword’s hilt there’s a screaming Gorgon or Medusa—

Na balačku mača se nalazi vrišteća Gorgona ili Meduza -

both female archetypes evoking rage and power

obe su ženski arhetipi koji evociraju bes i moć,

which link the work to Caravaggio.

a koji povezuju njeno delo sa Karavađom.

Artemisia painted her most famous portrayal of Judith between 1618 and 1620.

Artemizija je naslikala svoj najčuveniji prikaz Judite između 1618. i 1620.

The composition is similar to that of her first painting from 1613,

Kompozicija je slična kao na njenoj prvoj slici iz 1613,

but has meaningful details for those who look closely.

ali sadrži značajne detalje za opažajnije posmatrače.

The sword more directly resembles a crucifix,

Mač direktnije liči na raspeće,

heightening the sense that Judith's vengeance was a holy act ordained by God.

pojačavajući utisak da je Juditina osveta sveti čin božje volje.

Artemisia also added a bracelet featuring the goddess of the hunt—

Artemizija je takođe dodala narukvicu na kojoj je boginja lova -

her namesake, Artemis.

njena imenjakinja, Artemida.

This signature is one of the many ways her art holds true to a sentiment

Ovaj pečat je jedan od mnogih načina na koje je njena umetnost verna osećanju

that she expressed near the end of her life:

koje je izrazila pred kraj svog života:

“The works will speak for themselves.”

„Dela će govoriti za sebe.”