The Passion of Artemisia

The Passion of Artemisia is a historical fiction novel published in 2002 by American author Susan Vreeland that is based on the life of the real-life post-Renaissance painter, Artemisia Gentileschi. As one of the only female artists of the era in which she lives, Gentileschi leads a difficult but fascinating life which Vreeland fictionalizes with great detail and flair. The result is a vibrant depiction of both an extraordinary woman and an extraordinary time to be alive, as Vreeland offers a vision of 17th-century Italy that’s populated by a surplus of great historical figures, from the Medicis to Michelangelo’s kin to Galileo.

When the story begins in 1612, Artemisia is an 18-year-old woman who is thrust into the local spotlight after she is raped by Agostino Tassi, a painter of some repute. Although Artemisia does not wish to file charges against Tassi, her father Orazio insists—although it is suggested that Orazio, also a painter, is less angry about the rape than he is about a missing painting that he suspects Tassi of stealing. Having already suffered a horrific ordeal, Artemisia steels herself for yet another: the rape trial itself. Because of how Italian society at the time treats rape victims, Artemisia feels as if she is as much on trial as Tassi is.

Ironically, it is thanks in part to Tassi’s connections to Orazio that he is acquitted of any crime by the Inquisitor. Meanwhile, Artemisia suffers humiliation, abuse, and a ruined reputation at the hands of an intensely patriarchal society and judicial system. Although her rape and the subsequent trial are what Artemisia is most remembered for in the centuries to come, Vreeland merely uses this event as a jumping-off point to tell the story of a remarkable woman who today is considered to be one of the more progressive painters of her era. In addition to producing great paintings, Artemisia is expected to fulfill certain duties as a wife and mother. In an arranged marriage that’s thrown together rather quickly because of Artemisia’s supposed “lost virtue” due to the rape indictment, Artemisia marries a fellow artist named Pietro Stiattesi. The couple grows closer after the birth of a daughter named Palmira.



After moving to Florence, Artemisia becomes the first woman ever chosen to join the Accademia dell’Arte, a prestigious and exclusive arts academy. Unfortunately, Artemisia’s success makes her husband Pietro intensely jealous, highlighting just one of the many unique challenges faced by female artists of the 17th century. Nevertheless, Artemisia’s womanhood is also an advantage in some ways. For example, she becomes known as one of the most accomplished painters of the female form, nude or otherwise. One of her most famous paintings of this first decade of artistic output is Judith Slaying Holofernes. This work depicts the eponymous Israelite woman of the Old Testament’s apocryphal Book of Judith decapitating an Assyrian general named Holofernes. Vreeland comments on how Artemisia’s depiction of Judith is muscular and powerful, contrary to most contemporary representations of the female form.

After Artemisia’s marriage falls apart and she is lured to Genoa by new patronage, the artist is forced to raise Palmira alone, and much of the novel focuses on how motherhood serves as both a distraction to Artemisia’s work as an artist and also fuel for her work. Vreeland also recounts Artemisia’s interactions with famous historical figures. Upon arriving in Florence, for example, Artemisia earns the attention and patronage of the famous banking family the Medicis, and in particular Cosimo de Medici II. Later, she has an enlightening conversation about the relationship between art and science with the famed astronomer, Galileo, telling him, "Where art and science touch is the realm of the imagination, the place where original ideas are born, the place where both of us are most alive."

The author continues to follow Artemisia’s career all over Italy, from Venice to Rome to Naples. Although Palmira does not follow in her mother’s footsteps as an artist, she eventually marries and builds a life for herself. Toward the end of the novel, Artemisia finally reconciles with her dying father in England, despite his betrayal surrounding the rape trial, thus bringing the narrative of Artemisia’s adult life full circle.



With The Passion of Artemisia, Vreeland highlights the life and career of an artist who, due to her gender and her association with a tawdry crime, has not gained as much recognition as she perhaps deserves. In the process, Vreeland also paints a vivid portrait of post-Renaissance Italy. But perhaps most impressively, the author describes the artistic process in a way that is both fittingly exalted in its examination of genius, but also down-to-earth as readers see the push-and-pull between Artemisia’s domestic activities and her art. Publishers Weekly’s rave review describes the book thusly: “Forthright and imaginative, Vreeland's deft recreation ably showcases art and life.”