许多学者和评论家都将这种形象比作复仇的自画像，这表明这幅画是Gentileschi宣称自己反对强奸犯的方式。虽然这部作品的传记元素可能是真实的 – 我们不知道艺术家的心理状态 – 这幅画对于代表Gentileschi的才华和她对巴洛克艺术的影响的方式同样重要。然而，这并不是说Gentileschi不是一个坚强的女人。有很多证据表明她对自己作为女画家的信心。在她的许多通信中，Gentileschi提到了在男性主导的领域中成为女画家的困难。她对自己的工作可能不如男性工作的建议感到烦恼，但从不怀疑自己的能力。她相信她的作品会说话，回应一位评论家的评论，她的画作会向他展示“女人能做什么”。 Gentileschi现在着名的自画像，自画像作为绘画的寓言，几个世纪以来被遗忘在地窖里，因为它被认为是由一位不知名的艺术家绘制的。一个女人本可以完成这项工作是不可能的。现在这幅画已被恰当地归结，它被证明是两种艺术传统相结合的罕见例子：自画像和女性形象的抽象概念的体现 – 这是一个没有男性画家可以创造自己的成就。虽然她的作品在她的一生中受到了好评，但是Artemisia Gentileschi的声誉在她于1653年去世后挣扎。直到1916年才对她的作品产生了兴趣，罗伯特·隆希（Robert Longhi）与她的父亲一起写了关于艾蒿的作品。 Longhi的妻子后来于1947年以一部小说的形式出版了年轻的Gentileschi，其重点是她的强奸及其后果的戏剧性展开。将Gentileschi的生活戏剧化的倾向今天仍在继续，有几部小说和一部关于艺术家生活的电影。
澳大利亚管理学dissertation代写：女人能做什么
Many scholars and critics have compared this image to self-portraits of revenge, suggesting that this painting is the way Gentileschi claims to be against rapists. Although the biographical element of this work may be true – we don’t know the artist’s mental state – this painting is equally important for the way Gentleschi’s talents and her influence on Baroque art. However, this is not to say that Gentileschi is not a strong woman. There is a lot of evidence that she is confident in her role as a female painter. In many of her communications, Gentileschi mentioned the difficulty of becoming a female painter in a male-dominated field. She is annoyed that her work may not be as good as a male job proposal, but she never doubts her ability. She believes that her work will speak and respond to a commentator’s comments, and her paintings will show him “what a woman can do.” Gentileschi is now known as a self-portrait, a self-portrait as a fable of painting, which has been forgotten in the cellar for centuries because it is considered to be drawn by an unknown artist. It is impossible for a woman to do this work. Now that the painting has been properly summed up, it has proven to be a rare example of a combination of two artistic traditions: the embodiment of self-portraits and the abstract concept of a female image – an achievement that no male painter can create. Although her work has been well received in her life, Artemisia Gentileschi’s reputation struggled after her death in 1653. It wasn’t until 1916 that she became interested in her work, and Robert Longhi and her father wrote about Artemisia. Longhi’s wife later published the young Gentileschi in 1947 as a novel, focusing on the dramatic development of her rape and its consequences. The tendency to dramatize the life of Gentileschi continues today, with several novels and a film about the life of the artist.