If I had to choose one piece of art for everyone to see, what would it be?

“Portia Wounding her Thigh” by Elisabetta Sirani

I know that this is a controversial topic today. There are so many movements, so many causes that deserve immediate attention, including the fights against racism, against environmental pollution, and against governmental corruption. My choice to address sexism is only a result of my own experiences, and what I have struggled with most personally. There are many artworks speaking of the other injustices, so make sure to subscribe if you want to see some in upcoming blogs.

In the past, women were rarely public figures, so few women have managed to earn prominence in the arts. One example is Elisabetta Sirani who lived in the peaceful, rich and thriving city of Bologna – a liberal atmosphere with a receptive public where Sirani had the privilege to graduate from the University of Bologna. Although religion prohibited drawing nudes from live models, the Cerracci Academy practiced that and Sirani, considered a third generation representative, learned to paint the human body without relying on eroticism (Pepper).

The painting “Portia Wounding her Thigh” was produced in the 17th century when European states began their race to conquer Asia and Africa. Hence, people turned to history to learn from in order to avoid repeating their ancestors’ mistakes. Sirani focued on women figures from the past as also seen in “Beheading of Holofernes by Judith” or “Timoclea”.

In the painting, Porcia, the main figure, is holding up a knife. Porcia Catonis lived in the 1st century BC and was the second wife of Marcus Brutus (Julius Caesar’s assassin). According to Plutarch, she inflicted pain on herself by cutting a deep gash in her thigh in order to prove that she could endure torment. She aimed to dispel her husband Brutus’ fears that she would succumb to torture because she is a woman (and therefore weak), so that he could share the conspiracy with her.

Despite having her thigh exposed to the audience, Portia is standing confidently in an empowering stance, not afraid to show her sexuality and embraces her body as it is. She breaks the stereotype at the time that the female body should remain covered unless posing for a complete nude. Portia’s face is composed because she overcomes the anguish of the cut without giving away any sign of pain, which renders her strong physically and mentally. She therefore possesses typical ‘masculine’ qualities, such as being capable of dealing with situations without hesitation.

Portia is positioned in the foreground, capturing all the attention of the observer. In spite of the fame of her husband, Brutus is not present in picture and Portia is only in the company of three female maids on the left busy weaving silk and working their mundane routines. Such a composition underscores the importance of women for daily duties (the maids) as well as rare extraordinary deeds (Portia), and hence women’s ability to combine and embody both strength and femininity.

Until this painting by Sirani, painters had chosen to depict Portia’s later suicide – a moment of weakness, rather than her moment of determination. This particular painting is important because it shows that one needs to learn all facts before making conclusions, just as Sirani did before condemning Portia as weak. I believe that this painting introduces a relevant issue like sexism, but it also highlights the importance of scientific curiosity. Five centuries later, I am inspired to be strong like Portia, but also to promote women empowerment through my creativity like Sirani.