XI. BLACK CHAMBER

“Artemisia Gentileschi, with a fabulous name as silky as the paintings of her father, seems the only woman in Italy who ever knew what is painting, colour and texture, and similar essentialities are about, therefore she is not to be confused with the faded series of famous Italian female painters”.

“Artemisia must have been very precocious in everything - look at the report of the trial against Tassi - and so she was in painting: in 1612, when she was fifteen years old, while Tassi would teach her perspective, among other things, she painted the portrait of a putto”.

"We do not doubt that she was then walking moderately in the footsteps of her father, therefore if we want to find her early works we should look for some work in the footsteps of Orazio, but with some youthful hesitation and perhaps feminine sense”.

Roberto Longhi, Padre e Figlia, L’Arte, 1916

 

 

Barbara STROZZI
Udite amanti - L’Eraclito amoroso (Cantate, arie e duetti Op. 2, Venezia, Angelo Gardano, 1651)

 

Listen, you lovers, to the reason - oh God! -
For my weeping:
In my adored and beautiful idol,
Who I believed to be faithful, faith is dead.
I find charm only in weeping,
I nourish myself by my tears,
Grief is my delight
And my moans are my joy.
Every anguish pleases me,
Every sadness is my delight,
My sobs heal me,
And my sighs console me.
But if he denies faith,
He who is fickle and treacherous,
At least faithfully serve me
Until death, oh my sorrow!
Every tear sooths me,
All my mourning lasts forever,
So much does each ill afflict me
That it kills and buries me.

 

 

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