Once her father had despaired of finding any talent in his sons, he put Artemisia to work in his studio, grinding pigments and preparing canvases. He soon realized that she could paint, so he allowed her to fill in the backgrounds on some of his paintings. Artemisia began encroaching further and further into her father’s figures, and then she struck out on her own. Her father’s signature was always in the corner, but his patrons knew that an old man would not suddenly become gifted. No, it was the silent girl in the shadows who brought life to the old, traditional pictures.
Artemisia reveled in painting the great heroines of the Bible. Although she could not read, her mother had made sure that her only daughter knew these stories before she died in childbirth with her second girl child, who also perished. All of the artists before her had portrayed Judith and Susanna as mild and pleasant, but Artemisia knew their fear and anger, and she painted their true emotions onto her canvases. Eventually, her father decided to nurture her gift, so he hired another artist to teach her perspective. Artemisia fell in love, and she thought that he was proposing marriage to her, but he was proposing something else entirely.
McCullough relates this true story in verse, with dialogue noted in italics. The reader sees through Artemisia’s eyes, with other characters’ dialogue appearing in a separate column. Artemisia Gentileschi was a Renaissance artist in a time when women were not encouraged to express themselves publicly. A quick Google search will display her prolific work in the familiar Renaissance style, with shimmering figures glowing out of the darkness. Although paintings of these Biblical—often apocryphal— stories were common, Artemisia’s women are different. Her madonnas love the baby Jesus, they are not ethereal and passive. In McCullough’s story, the artist identifies closely with Judith, so it is not strange that we see strength and vengeance in her eye as Judith cuts off Holofernes’ head. And here is Jael, enthusiastically driving a stake through Sisera’s head. There seems to be a theme here. Fortunately for posterity, when she was not painting women murdering men, she turned to self-portraits. In this picture, she presents herself as the personification of Painting.
Released at the height of the #MeToo movement, Blood Water Paint is an important and brutal work. Young women, especially, can take heart that Artemisia Gentileschi survived rape and went on to become a great artist, against all odds. This story will provide an opportunity not only to learn about Renaissance art, but also about Biblical women who are characters in the part of the Bible that is called the Apocrypha in Protestant churches. Because of the mature subject matter, this book is best for older teens and adults.
Disclaimer: I read an advance reader copy of this book. Opinions expressed are solely my own and may not reflect those of my employer or anyone else.