The Author discusses the attitude of Artemisia as a woman and as an artist in the first half of the seventeenth century, analyzing the Gentileschi's visual production and her correspondence, addressed to dealers of her works – among them: merchants, diplomats, dukes, members of art academies and european patrons. The attention is based on the use of images in historical research, problematizing how the Gentileschi’s work contributes to think about her time, her culture and her biographical trajectory.
