Frauen in der Kunst
Women artists in this period began to change the way women were depicted in art. Many of the women working as artists in the Baroque era were not able to train from nude models, who were always male, but they were very familiar with the female body. Women such as Elisabetta Sirani created images of women as conscious beings rather than detached muses. One of the best examples of this novel expression is in Artemisia Gentileschi's "Judith beheading Holofernes", in which Judith is depicted as a strong woman determining and avenging her own destiny. Letizia Treves, curator at London's National Gallery 2020 Gentileschi show has commented: "you can't see it without thinking of Tassi raping Gentileschi." The elements of the picture are "balanced with such skill they speak of a painter who prioritised virtuosity over passion." While other artists, including Botticelli and the more traditional woman, Fede Galizia, depicted the same scene with a passive Judith, in her novel treatment, Gentileschi's Judith appears to be an able actor in the task at hand. Action is the essence of it and another painting by her of Judith leaving the scene. Still life emerged as an important genre around 1600, particularly in the Netherlands. Women were at the forefront of this painting trend. This genre was particularly suited to women, as they could access the materials for still life readily. In the North, these practitioners included Clara Peeters, a painter of "banketje" or breakfast pieces, and scenes of arranged luxury goods; Maria van Oosterwijk, the internationally renowned flower painter; and Rachel Ruysch, a painter of visually charged flower arrangements. In other regions, still life was less common, but there were important women artists in the genre including Giovanna Garzoni, who created realistic vegetable arrangements on parchment, and Louise Moillon, whose fruit still life paintings were noted for their brilliant colors.