Isabella Flores
The painting Susannah and the Elders by Italian Baroque artist Artemisia Gentileschi depicts a scene from the Book of Daniel in which two voyeuristic elders spy on Susannah while she is bathing and then attempt to blackmail her into having sexual relations with them, threatening to falsely accuse her of adultery. The story is thought to have been particularly attractive to male artists and patrons as it allowed them to legitimize voyeurism and display their skill in depicting the female nude. However, Gentileschi's painting is thought to have been motivated by her own experiences of sexual harassment, departing from the suggestive images of Susanna common at the time by capturing her extreme distress during the encounter.
| Characteristics | Values |
|---|---|
| Artist | Artemisia Gentileschi |
| Year | 1610 |
| Genre | Baroque |
| Medium | Oil on canvas |
| Dimensions | 167.5 x 126.5 cm |
| Location | Schloss Weißenstein, Pommersfelden, Germany |
| Subject | Biblical narrative from the Book of Daniel |
| Story | Susanna is accosted by two elders while bathing and is threatened with false accusations of adultery when she refuses their advances |
| Style | Dramatic, emotional, and rich in color and detail |
| Composition | Vertical format with figures placed close to the front, creating a sense of entrapment |
| Unique Features | Departure from erotic depictions of Susanna, focusing instead on her distress and vulnerability |
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What You'll Learn
The story of Susannah and the Elders
The story is particularly notable for its portrayal of a woman resisting sexual harassment and blackmail. During the Baroque period, it became a popular subject for artists, who often depicted Susanna as nude, emphasising the voyeuristic nature of the scene. One of the most famous depictions is by Italian Baroque artist Artemisia Gentileschi, considered one of the leading female artists of the seventeenth century. Her painting, completed in 1610, is notable for its portrayal of Susanna's distress and discomfort during the encounter, presenting a rare image of a three-dimensional female character who is heroic.
Gentileschi's own experiences with sexual harassment and assault have been speculated to have influenced her interpretation of the scene. In 1611, a year after she completed the painting, Gentileschi was raped by Agostino Tassi, an artist hired by her father to teach her perspective. Some scholars believe that her sensitivity to the subject matter came from a personal place, and that she intended to engender empathy in the viewer for Susanna's plight.
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Artistic interpretations of the story
The story of Susanna and the Elders has been depicted by many artists, especially during the Baroque period. The earliest images of Susanna and the Elders are found in the catacombs of Priscilla in Rome, dating back to the late 3rd/early 4th century. In these paintings, Susanna is fully clothed and serves as a symbol of faith and marital chastity.
During the Renaissance, artists such as Tintoretto (1555-56) and Rembrandt depicted Susanna as either vain or ashamed, with her primary emotion being her awareness of being caught naked by the elders and the viewers of the painting. These interpretations revel in flesh and the female body, often for the pleasure of their male patrons.
Italian Baroque artist Artemisia Gentileschi's 1610 painting of Susanna and the Elders stands out from these earlier interpretations. Gentileschi's Susanna sits uncomfortably, with a twist to her body that reveals her distress. She is both uncomfortable and more feminine than previous depictions of Susanna, whose bodies appear more anatomically masculine yet are portrayed in a more eroticized position. Gentileschi's vertical composition also spreads the two elders at the top, creating a feeling of malevolent pressure imposed on Susanna.
Art historians have differing opinions on the subject of Gentileschi's paintings. Marry D. Garrard believes that Gentileschi is representing a rare visual of a woman who has been victimized, reflecting the sexual harassment she received from men in her community. Gianni Papi, on the other hand, suggests that the two elders represent her father and her second teacher, Agostino Tassi, who raped her in 1611.
In the 20th century, Thomas Hart Benton subverted artistic norms in his modern portrayal of Susanna and the Elders. Benton's Susanna is depicted as a contemporary Missouri woman, with details such as red nail polish, coiffed hair, and pubic hair, which was shocking in the history of Western art. Benton's interpretation serves as a critique of the moral hypocrisy and repressed sexuality of Bible Belt religions.
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The portrayal of Susannah
In the early depictions, such as those found in the catacombs of Priscilla in Rome, Susannah is shown fully clothed. However, from the 15th century onwards, artists began to depict her nude, and the story became increasingly popular in the 1500s when nudes came back into fashion. These depictions allowed artists to display their skill in portraying the female nude, often for the pleasure of their male patrons.
Artemisia Gentileschi's 1610 version of the scene is unique in that it captures Susannah's extreme distress during the encounter. She sits uncomfortably, with a twist to her body that conveys her discomfort and repulsion. Gentileschi's portrayal of Susannah is believed to reflect her own experiences of sexual harassment and rape, which she experienced at the hands of Agostino Tassi, a man her father had hired to teach her.
Other artists have also interpreted the scene in their own ways. Annibale Carracci, for example, depicts a more eroticized and anatomically masculine Susannah, who appears receptive to the elders' attention. Thomas Hart Benton's modern portrayal of the scene subverts artistic norms by setting it in rural Missouri and depicting Susannah with pubic hair, a detail typically omitted in Western art.
Overall, the portrayal of Susannah in "Susannah and the Elders" ranges from a symbol of faith and marital chastity to a victim of sexual harassment and the threat of rape, depending on the artist and their motivations.
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The elders' behaviour
Gentileschi's portrayal of the elders is unique in that it focuses on the negative impact of their behaviour on Susanna. Unlike many depictions by male artists that eroticise the scene and objectify Susanna, Gentileschi's painting centres around Susanna's distress and discomfort. The elders are shown as dark, malevolent figures hovering over Susanna, emphasising the power imbalance and the sense of entrapment she feels.
The painting may also be interpreted as a commentary on the societal constraints placed on women in a male-dominated world. Gentileschi herself experienced sexual harassment and rape, and the painting may reflect her personal sensitivity to the subject matter. The elders could be seen as symbolic of the male gaze and the sexual objectification of women in society.
In conclusion, the elders' behaviour in "Susanna and the Elders" by Artemisia Gentileschi is a depiction of voyeurism, sexual harassment, and abuse of power. Gentileschi's unique portrayal focuses on the negative impact of their actions on Susanna and may be interpreted as a commentary on the vulnerabilities and constraints faced by women in a society ruled by men.
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The artists' motivations
The painting "Susannah and the Elders" by Artemisia Gentileschi depicts a scene from the Book of Susannah in the Apocrypha, a collection of texts that are considered non-canonical in some Christian traditions. The story revolves around a young woman named Susannah, who is falsely accused of immorality by two elders. Artemisia chose this biblical episode for its potential to showcase female virtue and resilience in the face of male lust and corruption.
One of the primary motivations for Artemisia Gentileschi to create this painting was to highlight the injustice and vulnerability faced by women in a male-dominated society. The artist herself had experienced firsthand the biases and challenges women navigated during the early 17th century. By choosing a subject like Susannah, who embodies resilience and virtue, Artemisia could subtly comment on the societal issues of her time while also showcasing her skill as a painter.
Another motivation may have been to assert her own artistic voice and challenge the male-dominated art world. Artemisia was one of the first female artists to achieve recognition in a field largely dominated by men. Through this painting, she demonstrated her mastery of chiaroscuro, a technique popularized by her contemporary, Caravaggio. By using dramatic lighting and intense contrasts of light and shadow, Artemisia created a sense of drama and emotional depth in the scene.
The composition and positioning of the figures in the painting also suggest a deliberate attempt to empower the female figure. Susannah is depicted as a strong and dignified woman, despite her vulnerable position. She gazes directly at the viewer, inviting empathy and challenging the narrative constructed by the elders. The elders, on the other hand, are shown in a negative light, their faces shadowed and their gestures menacing.
Artemisia's personal experiences may have also influenced her choice of subject matter. She had endured a traumatic event early in her career when she was raped by an acquaintance, who was subsequently tried and found guilty. The emotional impact of this experience may have driven her to seek artistic outlets to express her feelings and challenge the societal norms that often blamed or silenced female victims.
Lastly, the painting can be seen as a celebration of female virtue and a critique of male entitlement. Artemisia used her brushstrokes and color palette to emphasize the innocence and purity of Susannah, contrasting it with the darkness and sinister motives of the elders. Through this powerful narrative, she gave a voice to the struggles of women, demanding recognition for their strength and integrity.
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Frequently asked questions
The story of Susannah and the Elders is an Old Testament tale of a woman, Susannah, who is spied upon by two voyeuristic elders while she is bathing. The elders then attempt to blackmail Susannah into having sexual relations with them, and when she refuses, they falsely accuse her of adultery.
Gentileschi's painting is believed to be the first work entirely painted by her, at the age of 17. It is also her earliest-known signed and dated work, created in 1610. The painting is unique in its portrayal of Susannah, capturing her extreme distress during the encounter, unlike many depictions that fail to reveal any discomfort.
The two elders are shown whispering to one another, emphasising the plot between them. This is a unique aspect of Gentileschi's painting, as art historian Mary Garrard notes that in no other version of the subject she knows are the elders shown whispering.
Gentileschi's painting is a Baroque-style artwork, characterised by subtle colours and appearances. It also displays a forceful personal style, with a sensuous feeling, an emotional exuberance, drama, richness, and a heightened dilemma.
The painting of Susannah and the Elders has a long history, with depictions of the story dating back to the late 3rd/early 4th centuries. The subject became particularly popular in the 16th century, with artists such as Tintoretto, Rembrandt, and Guido Reni creating their own interpretations.
