- Directly inspired by Artemesia Gentileschi’s Lucretia, Cynthia Karalla’s Lucretia retains most of the characteristic of Artemesia painting of Lucretia. We are seeing our subject from the same perspective as the light would be cast in the manner of a Rembrandt or a Caravaggio. With light being a standard apparatus of manipulation in Baroque art, we envision the subject matter as if we are either the light of her salvation, or the light of her damnation, as we see the subject from the vantage of the light. In retaining the conservative aspects of the portrait and remaining with in the genre’s boundaries, Cynthia make the spectator the modern dimension in the painting (Photography) giving each and every one of us the authority of divine judgement.

Artemesia paints her Lucretia as a biographical depiction of the consequences of rape, herself having been raped by her father’s assistant, makes this Roman myth and its’ references to rape that much more profound. By raising the issue of chastity, Artemesia portray its loss with devastating consequences, as defined by an all-male dominated Baroque audience. We are the audience in Cynthia’s 21st century Lucretia. We are given the opportunity to bare witness at the moment of suicide, just before it happens. Lucretia’s chastity has been taken, her dignity has been annihilated, and life for Lucretia is ending with us looking down upon her, like the grace of light. We can judge her salvation for her devotion to her fidelity, or dam her for being raped and committing suicide, as her new audience is not only male to judge but finally female as well.

Lucretia