Divina Artemisia Feet ((install)) [ AUTHENTIC ✯ ]

This theory of the "grounded foot" is most visibly realized in Gentileschi’s Jael and Sisera (c. 1620). Here, the foot plays a starring role. The narrative depicts Jael driving a tent peg through the skull of the sleeping general Sisera.

In her depictions of Saint Catherine of Alexandria, Gentileschi returns to the motif of the foot, but here it is passive. In many versions, Catherine is depicted resting her arm on a broken wheel, her feet often encased in rich fabrics or resting on a stone. divina artemisia feet

In her seminal work currently housed in the Uffizi, Gentileschi paints a scene of claustrophobic violence. Art historians have long noted the "spur" of Judith’s bracelet digging into her own wrist—a symbol of the physical effort required to saw through a neck. However, look lower. This theory of the "grounded foot" is most