Also on show is Self-Portrait as the Allegory of Painting ('La Pittura'), considered one of Artemisia’s greatest works. The two paintings form a new temporary display in the Palace of Holyroodhouse, taking their place in the ornate baroque interiors of the Palace. 

‘Artemisia Gentileschi is one of the finest artists of the Italian Baroque period, achieving great success during her own lifetime when few women artists were formally recognised. She is celebrated today for her skilful technique along with an ability to empathise with and empower the female protagonists of her paintings, in a way that many of her male contemporaries' works typically did not. 

‘It’s quite extraordinary that we can follow the history of a painting by Artemisia through the centuries, from its initial creation and display at Whitehall Palace in the 1630s, right through to its recent rediscovery by the Royal Collection Trust paintings team, and Susanna and the Elders adds much to our knowledge of her artistic practice. We are delighted to have it on display for the first time in Scotland for visitors to see.’

Emma Stead, Curator at the Palace of Holyroodhouse

The rediscovery resulted from work by Royal Collection Trust curators, notably former staff member and art historian Dr Niko Munz, to trace the paintings sold off and scattered across Europe after Charles I’s execution. 

Although seven paintings by Artemisia were recorded in Charles I’s inventories, only the Self-Portrait was thought to survive today, with the others believed lost. However, research allowed curators to match the description of Susanna and the Elders to a painting that had been in store at Hampton Court Palace for over 100 years, attributed to ‘French School’ and in very poor condition. A ‘CR’ (‘Carolus Rex’) brand was subsequently found on the back of the canvas during conservation treatment, confirming that the painting was once in Charles I’s collection.

The rediscovered painting depicts the Biblical story of Susanna, who is surprised by two men while bathing in her garden. When she refuses their advances, she is faced with a false accusation of infidelity, punishable by death, before she is proven innocent. While male artists of the period often presented an idealised or sexualised view of the scene, Artemisia gives great emphasis to Susanna’s vulnerability as she twists her body away from the lecherous men. 

Following its rediscovery, the painting underwent significant treatment by Royal Collection Trust conservators. Read more about this and hear from Anna Reynolds, Surveyor of The King’s Pictures, and Adelaide Izat, Paintings Conservator, in a video here.

Artemisia Gentileschi gained fame across Europe in the 17th century, after training with her father in Rome and before working in Florence, Naples, Venice and London for aristocratic and royal patrons. Her work fell out of favour in the 18th and 19th centuries, but in the last 50 years she has become known for her powerful and empathetic depictions of women from history.

Take a closer look at Artemisia’s life and art here.