Art for the Elimination of Violence against Women
Globally, one in three women have suffered some form of physical and/or sexual violence at least once in their life. In Europe, two in ten women have experienced physical and/or sexual violence inflicted by a partner or friend, while three in ten have endured such abuse at the hands of a relative or family member (1). Globally, one woman is killed every 11 minutes by someone in their own family (2). In Europe, more than two women are killed every day by an intimate partner or family member. In Italy alone, the previous year witnessed the tragic occurrence of 106 femicides.
Gender-based violence assumes different forms, encompassing physical, psychological, verbal and sexual abuse. The right to life, gender equality, protection of physical integrity, and the right to health are a few of the human rights - safeguarded in the Universal Declaration of Human Rights - which women are deprived of as victims of violent acts. In order to combat violence and discrimination against women on a global level, the United Nations adopted the Convention on the Elimination of All Forms of Discrimination Against Women. States that are parties of this Convention are obliged to adopt all necessary legislation to combat discrimination and advance women’s rights.
At a European level, gender equality and gender-based violence are addressed by human rights instruments such as the European Convention on Human Rights. In addition, in 2014 the Council of Europe adopted the Council of Europe Convention on preventing and combating violence against women and domestic violence (Istanbul Convention). The latter obliges parties of the Convention to legally implement measures of prevention, protection, and prosecution in regard to violence against women and domestic violence.
Regrettably, a considerable number of women refrain from reporting such abuses, particularly those of a psychological nature, which are less likely to be pursued legally. The data indicates that only 22% of women who experience intimate partner violence report it and that over 80% who experience violence do not seek help. Despite this hesitancy to come forward, art emerges as a powerful tool of denunciation and advocacy, providing a voice for those who often remain silent. By bringing attention to gender-based abuse, art plays the crucial role of fostering understanding and of encouraging a comprehensive societal response.
Since antiquity and all throughout history, the theme of violence against women has been addressed through ever-evolving art forms, all in line with their respective eras, yet equally innovative. This narrative spans from Greek mythology to artworks of the 1600s and 1700s, and extends to contemporary street art and performance art. On the occasion of the International Day for the Elimination of Violence Against Women (November 25th), we chose 11 works from all eras, styles, and backgrounds to highlight how the tragedy of violence against women is a theme that transcends creative languages. These chosen works serve as poignant reminders that violence against women is a timeless struggle and emphasize the enduring power of art to address and depict it as such.
Historically identified as subjects of blame and venting, women have, amongst other things: endured orders, deemed morally questionable if dressed too revealingly, labelled as frigid if focused solely on the family with little self-care, and held accountable even for the unwarranted attention received by other men. Despite these unjust societal expectations, the following artistic representations demonstrate how women are, contrary to certain misconceptions, much stronger and courageous.
Danae by Correggio: Danae, in Greek mythology, was the daughter of King Acrisius, who had confined her to a tower in their castle (so that she would not marry and have children), due to fear of the oracle at Delphi. This prophecy stated that King Acrisius would eventually be killed by his grandson. Coreggio paints here the moment in which Zeus/Jupiter - who was known for seducing women - transformed himself into a shower of gold and descended on her, despite her imprisonment in the tower. As a result, Danae did eventually give birth to a son. Here one observes a constant theme of violence: firstly, the woman being subjected to the father and, additionally, abused for the sole physical pleasure of the man, condemning her to an unwanted pregnancy.
Tarquinio e Lucrezia by Tintoretto: The sense of possession, oppression, and threat targeting women is vividly expressed in Tintoretto's work "Tarquinio e Lucrezia." In the painting, Lucrezia - wife of the Roman politician Collatinus - is depicted rejecting Sesto Tarquinio - son of Tarquin the Proud - who is violently attempting to prevail on her. The scene takes place in the woman's home, where Sesto has invited himself without her husband's knowledge. The pain is overwhelming for Lucrezia, leading her to decide to take her own life.
Il Ratto di Proserpina by Gianlorenzo Bernini: Bernini depicts the abduction of Proserpina by Pluto, the god of the Underworld. In this work, Bernini captures the peak moment of the myth, where the god drags the unfortunate Proserpina into hades. Proserpina struggles, but she cannot escape the force of Pluto, who thrusts his hands into her flesh. The two figures are portrayed frontally, emphasising Proserpina's attempt to break free from her inevitable fate. The representation conveys a profound sense of violence; Pluto's muscles are tense as he pulls the young woman’s soft and delicate body. The hand gripping Proserpina's thigh is one of Bernini's celebrated sculptural features, encapsulating not only his strength but also a sense of deprivation of freedom that remains relevant today.
Susanna e i vecchioni by Artemisia Gentileschi: The Old Testament tells the story of Susanna, a young and beautiful woman bathing in the gardens of her home. Two elderly friends of her husband notice her and approach her with malicious intent. These are not just any two old men; they are judges of the Jewish community in Babylon and friends of the young woman's husband. The two desire Susanna, but she recoils in disgust. Determined, the couple threatens to tell the community that they caught her with a young lover if she does not yield to their lascivious advances, but even this does not work. Artemisia Gentileschi tackles the biblical episode of Susanna and the Elders for the first time in 1610 at the young age of 17. It is her debut work, yet it asserts itself with strong stylistic and compositional force, portraying the full drama of the young woman: the pair of old men lean over a balustrade, casting a heavy presence over Susanna's naked body, illuminated by the strong chiaroscuro typical of Caravaggism. The woman's face is distorted by fear and disgust as she uses her hands to fend off the two men. The scene lacks natural elements as the composition is solely focused on the three figures, giving an even greater sense of it being a claustrophobic and inescapable situation.
Le viol by Edgar Degas: As inferred by the title, Degas represents a rape scene, transforming every viewer into a witness of this crime. Violence is the main theme of "Le viol", emanating from both the fragile body of the girl and the superior attitude of the man. The only perceivable emotion between them is fear – a wild and visceral fear that expands beyond the canvas, reaching into the viewer's core.
Cut Piece by Yoko Ono: We are in Kyoto, Japan, at the Yamaichi Concert Hall: an elegantly dressed artist sits on the floor in an exhibition space with scissors in front of her, explicitly inviting the audience to come closer and cut small pieces of her garment. While she waits, the artist remains motionless, in silence, with her gaze fixed ahead. After a few minutes of hesitation, someone starts to step forward until, piece by piece, the artist is left semi-nude: how many, following the crowd, strip a woman of her dignity?
Rhythm 0 by Marina Abramović: The performance "Rhythm 0" by Marina Abramović was characterised by a never-seen-before audience participation in contemporary art. The artist put her own body and mental integrity at stake, creating a situation of great vulnerability that prompted the audience to interact with her in ways that were often violent and dangerous. The artist's intention was to connote the responsibility of real life observers who often - ahead of brutal situations - are forced to ask oneself whether to act or not to act. "Rhythm 0" was a radical critique of social and cultural conventions that limit one’s self-determination, and an invitation to look beyond appearances and see the humanity and vulnerability of others.
Muro delle bambole, Milano: In 2013, the Italian artist, singer, and television presenter Jo Squillo presented a unique artistic installation aimed at conveying the suffering of women who face physical or emotional violence. The installation consists of a grid hanging on a city wall, inviting viewers to display photos of femminicide and harassment victims, as well as fabric dolls. The purpose of Jo Squillo's work is twofold: on one hand, to symbolise the suffering and resilience in the face of violence experienced by dozens of female victims each year and, on the other, to make an appeal to institutions.
Valentine’s Day Mascara by Banksy: Titled "Valentine’s Day Mascara", this artwork mysteriously emerged overnight on the 14th of February 2023. The mural appeared in one of the most economically deprived areas of Kent - a county in South East England. Painted on the wall is a 1950s housewife bearing a broken tooth and a black eye - presumably being the result of a punch. The piece takes on a three-dimensional complexion by making use of a real abandoned freezer on the street: the impression is that the woman is tossing a man in it, implying an act of revenge on her abuser.
C’è ancora domani directed by Paola Cortellesi: This 2023 Italian black and white movie is set in 1946 post-war Italy and revolves around Delia, who’s daily life is marked by physical abuse and violence perpetrated by her husband. What characterises this woman is the fact that she never reveals the weight of what she endures at home: she leaves the house ready to face the day, engaged in three different jobs as if nothing has happened. Delia embodies the woman who, despite living in a difficult family context, faces daily life with courage and resilience. Her story unfortunately reflects the sad reality of many women who, in the post-war period, have suffered abuse and violence, emphasising the importance of confronting and combating such situations.This movie has been considered a tribute to the Constitution and to the rights our grandmothers have fought so hard for.
(1) The study conducted by the European Council
(2) Recent global estimates from the U.N. Office on Drugs and Crime
(2) Recent global estimates from the U.N. Office on Drugs and Crime
Authors: Vittoria Coffrini Dell’Orto and Alessia Zanata
Revised by Penelope Baroni and Maya Cantini
Sources:
