La disobbediente

by Elizabeth Fremantle, Sara Puggioni (translator)

Brucia di passione, Artemisia. Passione per la vita, per l’arte che le scorre nelle il mondo le appare così ammaliante che non può solo guardarlo dalla finestra. Artemisia ha imparato sin da bambina i segreti delle polveri da cui nascono i colori e ha il dono di saperne trarre la vita. Come vorrebbe dipingere e scoprire ogni cosa! Invece, tutti quei misteri di cui palpita Roma, come una peccaminosa statua di Ermafrodito che si vocifera sia nascosta nel palazzo di un cardinale, a lei sono negati. In quanto donna, ogni parte di sé – il suo corpo, la sua abilità, il suo vero io – deve rimanere celata. La sua anima ardente si ribella alle regole che la vorrebbero silenziosa e sottomessa, ma è suo padre, il pittore Orazio Gentileschi, a disporre del suo destino. Nonostante le abbia insegnato a dipingere, maledice il cielo di aver dato tutto quel talento a una figlia femmina e non vede l’ora di affibbiarla a un marito, mentre si appropria senza vergogna delle sue opere. Ma, nel vigore dei suoi diciassette anni, Artemisia sente di non aver bisogno di un uomo, le basta la sua arte per essere felice. Quando Agostino Tassi, anch’egli pittore, entra nella vita dei Gentileschi, le fa balenare per un istante un mondo di possibilità artistiche. Invece, come un rapace, le strappa con la violenza quella fugace illusione. Mentre tutti la spingono a piegarsi al suo destino, Artemisia capisce di non poter fare a meno della sua libertà, qualunque sarà il prezzo da pagare, e decide di dimostrare al mondo di quale ardimentoso slancio è capace il cuore di una donna. Un prodigioso romanzo con una straordinaria eroina, icona di talento, coraggio e passione.

Genres: Historical Fiction, Fiction, Historical, Art, Feminism, Italy, Retellings

348 pages, Kindle Edition

First published July 6, 2023

About the author

Elizabeth Fremantle is the critically acclaimed author of Tudor and Elizabethan set novels: Queen's Gambit, Sisters of Treason, Watch the Lady and Times Books of the Year: The Girl in the Glass Tower and The Poison Bed, a historical thriller written under the name EC Fremantle described as 'a Jacobean Gone Girl.'

Her latest novel is The Honey and the Sting, published August 6th 2020 as EC Fremantle

She lives in London

Reviews

[Gareth · Rating 4 out of 5]

'Disobedient’ is a word that absolutely encapsulates the spirit of Artemisia, the central character in this story who is constrained and shackled by the era in which she lives and societies oppressive views of women. There are so many other words you could use to describe her as you read through the pages of her journey from childhood to womanhood – spirited, irrepressible, ambitious, indefatigable, emboldened etc. These words carry more weight and importance as the story pivots away from her thwarted ambitions and gifts as an artist and towards the impact an assault threatens to have upon her whole future, identity and destiny. The strength Artemisia shows in refusing to be a victim and in seeing justice done is powerfully depicted by the author and yet I personally felt the story missed something by not portraying any real degree of vulnerability (other than towards others judgement of her art), when her life experiences, trials and tribulations would test the resolve and strength of any human being.

[Clif Hostetler · Rating 3 out of 5]

This is a historical novel about the teenage years of Artemisia Gentileschi (1593-1653) during which time she was raped and was forced to endure truth testing by torture in the subsequent rape trial. I have previously read The Passion of Artemisia , by Susan Vreeland, which was mostly about her adult years as a talented painter of the Italian Baroque period. I also read the graphic novel Artemisia, by Nathalie Ferlut, which covers both her young and adult years. So it's apparent that I must be a fan of her and her paintings.

The story in this novel centers around the painting by Artemisia of this version of Judith Slaying Holofernes. According to this novel the face of Holofernes is the same as that of the man who raped her. I'm not sure art historians agree, but it makes for a good story.

Artemisia made several paintings of the same subject. Recently Judith and her Maidservant was displayed at the Nelson Atkins Museum Of Art, and I was impressed by its large size, 72.44 in × 55.75 in.

The amazing thing about Artemisia is that she was so talented that people were forced to overlook the fact that she was a woman. According to this novel her father passed off some of her work as his own which didn't go over very well with Artemisia, but I can see how it could happen.

I thought the author did a good job of describing 15th century life in Rome. Once a woman was raped the honorable action to be taken was to marry the assailant. That was what Artemisia's father wanted to happen, but lucky for Artemisia her rapist was already married. It was not a good time to be a woman. And of course the recent Me Too movement indicates the harassment from men seems to be a historical constant.

[Andrea · Rating 4 out of 5]

Firstly I would like to thank netgalley, and Michael Joseph Penguin Random House, and the wonderful author E.C.Fremantle..

I've read two other books from this author in her Tudor series, Queen Gambit, and Sister of treason both are 5*reviews,and still to read book three in the series. This book is set in Rome the amount of details transports you into that time in history. Artemisia wants to become an artist but she lives in a mans world,which includes her father following rules,..something horrible happens to her that changes her life. a fantastic historical read..highly recommend her books...


This book will be reviewed on goodreads, and Amazon UK.

[Gill Chedgey · Rating 5 out of 5]

I’ve never made a secret of my antipathy toward e-reading and kindle reading. Sometimes I have to use devices for reading to meet a deadline, but it’s with reluctance. However, when you’re desperate to read the latest book by one of your favourite writers, which won’t be published for a few months, and there is an opportunity to download it on Net Galley. It becomes a no brainer!! I love Elizabeth Fremantle’s books so much I was prepared to read it digitally rather than wait for my physical copy.
Disobedience is the story of Artemisia Gentileschi, the baroque painter, seemingly “rediscovered“ of late. The National Gallery had an exhibition of her work which was in the middle of lockdown, so I couldn’t behold her works physically, but the National Gallery did do a zoom lecture on her, which I took advantage of. And somehow, in my ageing, illogical brain, reading a digital copy of this book, seemed in harmony with my digital viewing of the exhibition.

Something that I admire so much in Ms Fremantle’s work is her ability to create the most palpable scenarios right from the off. There’s no need to “get into“ the book, you’re there from the first word. It’s as if you’re immediately enveloped into 17th century Rome, the lifestyle and habits these artists. Is that the mark of impeccable research, skilful writing or a fusion of both. I’ve experienced it in all her books. And for the duration of your read, you’re there in that very world as if you were born to it.

Artemisia is an artist, and also a woman subject to the societal codes and dogmas of her time. Chaperones and marriage, limited choices. Strong and brave is the woman who opposes. Artemisia is ambitious, certainly, in terms of her art and the vision she has of what her art can do. This story revolves around a certain period in the painter’s life. It’s not seeking to tell us her whole history, but it’s showing how one individual deals with a set of circumstances that would surely crush a lesser person. Many readers may well be familiar with Gentileschi’s story I don’t want to spoil it for those who don’t. What I’d like to focus on is how well the story is told. This writer has an uncanny knack of seeing into the hearts and souls of the characters she writes about. And that’s more than impeccable research. It demonstrates such a feel for the period and people about which she’s writing. The characterisations are superb. From the artist’s father, Orazio, to Zita, her chaperone and model, these characters are so fully formed they leap off the page at you And you believe. I think that in historical fiction to believe in the characters is so vital for the history to come alive. And it does come alive here. The narrative is superb. The pacing is so well balanced. The plot is so satisfyingly crafted that there’s almost a sigh of relief at the book’s conclusion. Not because you’ve finished the book, but because Artemesia has stayed true to herself, and not been cowed, or capitulated to other people. You want to raise a fist in celebration at her triumph.

The facts of her story could be read in some kind of biographical account of her life. But you wouldn’t get the same frisson or the same sense that you are there with her. With this story, you can almost smell the paint, feel the injustice. This book brings Artemisia Gentileschi to life.

My thanks to Net Galley for a digital copy.

[Kimmy C · Rating 5 out of 5]

I do like a book featuring a strong female protagonist, more so if it’s real. Artemisia Gentileschi is a talented painter - more so than her drunkard father, but is restricted by the fact of being a female (obedience, marriage, baby, try not to die in childbirth) in Rome in the early 1600s. Blending fact with fiction, this beautifully spun novel follows Arti as she battles to just be allowed to paint, but following shocking (but not unusual for the time) events in her life, her paintings take a dark turn. Check out her Judith Slaying Holofernes, and ask why she was prompted to produce this work. I loved the happy(ish) ending that the author provided, in spite of all the hardships it took to get there. I first found Gentileschi’s work when having to profile a female in the arts (in French), and so glad to have found this book to give her life story to a wider audience. She deserves it.
T/W - sexual assault

[Beth · Rating 2 out of 5]

Hmmmm… I really wanted to love this book but found it decidedly void of passion.
It’s hard to put your finger on what is missing but when a horrific rape scene is easy to skim over, something is wrong. I didn’t feel transported to Rome and I didn’t feel any connection to the time the book was supposed to be set in. Other than the execution at the start of the book, it really could have been any time throughout history and left me feeling more like a person sat reading a book than a time traveler. Not a terrible read but I honestly think it could have been so much more considering the subject matter.

[Dianne Alvine · Rating 5 out of 5]

This story takes place in the year 1611. Fremantle brilliantly pens a reimagined story of a true event that took place in the life of the great female Italian Renaissance painter, Artemisia Gentileschi. Like all women born at that time, she was considered property until the day she died. Because women were only born to be wives and mothers.

Artemisia's mother died when she was very young, and she was raised by her father, who was a painter, and he literally owned her, as would her husband. In this society, a woman would have a chaperone to make sure that her honor was not threatened, so that the family would not suffer the great, irreparable shame of being dishonored.

Tragically, shame is brought down on Artemisia and her family, and this forms the crux of the story, along with a trial. Artemisia is raped, and her father urges her to marry the man who dishonored her, which would then make everything 'all right' in the eyes of everyone, and the family would no longer be dishonored and disgraced.

It was all on Artemisia now. But, she doesn't cower or hide, and will not marry this man, and so has to face a trial! where she has to prove she is not the guilty one! I will not reveal the outcome of the trial, but will only say that Artemisia was put through hell, and as a result of something called the 'knotted strings of the Sybille', she was abused once again!

To say that Artemisia was a genius would be an understatement. But on another note, she was a person who exemplified great strength, courage, and truthfulness. She was fortunate to have the kind and caring Stiatessi family in her life, as they offered her unlimited support and love, and I will remember them for all their goodness.

Artemisia's masterpiece Biblical painting of Judith Beheading Holofernes is carefully woven into the plot of the story, and I found it fascinating. Over 400 years have gone by since Artemia walked this earth. The passion in this story belongs to Artemisia. She was a woman who passionately fought for her freedom! I would consider her a forebear of modern feminism, and someone I would have liked to call a friend.

[Kayleigh | Welsh Book Fairy · Rating 5 out of 5]

— 𝐁𝐨𝐨𝐤 𝐑𝐞𝐯𝐢𝐞𝐰 —

𝐓𝐢𝐭𝐥𝐞: Disobedient
𝐒𝐞𝐫𝐢𝐞𝐬: N/A
𝐀𝐮𝐭𝐡𝐨𝐫(𝐬): Elizabeth Fremantle
𝐆𝐞𝐧𝐫𝐞: Feminist Historical Fiction
𝐃𝐚𝐭𝐞 𝐏𝐮𝐛𝐥𝐢𝐬𝐡𝐞𝐝: 27th July 2023
𝐃𝐚𝐭𝐞 𝐑𝐞𝐚𝐝: 24th June 2023
𝐑𝐚𝐭𝐢𝐧𝐠: 4.5/5

”‘I should never have given you such a loose rein. I have created a ‒ a –’ He is unable to spit it out.
‘What have you created?’ She is strangely calm. ‘A monster? Is that what you were going to say? No, Father, all you have created is a woman with a mind of her own. Perhaps that seems monstrous to you.’”

This book is going to stay with me for a long time. I was wholly transported to 1611 Rome and delivered in the midst of a family of painters, none more talented than the young female of the family, Artemisia Gentileschi.

I did not think I was interested in art history until I read this book. And now I’m craving a museum or gallery. The lush depictions of baroque art were incredibly vivid and provocative.

There was a rough and ready vibe to the main character and this transcended into her art in a more amplified manner. Artemisia seeks to paint the truth in its more sincere form, whether that truth is amenable to society is a different matter. As the author unravels the story of her early life and the trauma that occurs to her, I could see that her paintings evolve and could be described as violent, unflinching demonstrations of male debasement.

Which makes the feminist element in this book so strong and forceful. Fremantle writes with a ferocious prose, resulting in a downtrodden yet defiant main character and plot. The plot is based on the real and significant happenings in Artemisia Gentileschi’s life and provoked very strong emotions from me.

The feminist element is strong and forceful in this book, downtrodden yet defiant Artemisia Gentileschi’s life and Fremantle’s interpretation of this feels congruent, heart clenching, and gut wrenching.

—Kayleigh🤍
@ Welsh Book Fairy🧚‍♀️✨

♡Booksta
♡Twitter

[johnny dangerously · Rating 1 out of 5]

I really wanted to finish this novel, but I became way too sickened by it at the 50% point, which is where the famous rape takes place. Not because of the rape itself-- I know about Artemisia Gentileschi's life and I knew what I was getting into. No, what put me off was the incredible historical inaccuracy, all to push a really stupid point.

The book really wants to push this reductive men vs women angle, at the expense of every character except Artemisia herself, and perhaps her rapist Tassi. It belittles her father Orazio and is entirely incorrect on the way that the culture surrounding painting in Baroque Italy operated. I was not an expert on this subject before I read the book, and I don't consider myself one now. These are all things I learned from cursory research, which the author either ignored or didn't find in the first place.

It was not considered scandalous or disobedient for a woman to paint a nude woman. Why would it be? It's not like lesbianism was a popular subject-- it doesn't even arise in what I read of the book. If you look at Gentileschi's work, it's full of nude women, often depicted in erotic poses. This was because a woman posing for a woman painter was considered more proper, and less like prostitution, which is a commerce that, according to Italians at the time, operated between men and women, not women and women.

There is a scene where Gentileschi decries Caravaggio's Judith as being too sexual-- after all, we can see the shape of her nipples through her dress. Yet to accuse Caravaggio of a prurient interest in women is frankly hilarious; Gentileschi's work has far more naked female skin than Caravaggio's! Caravaggio's sexuality is famously debated over, then and now, because Caravaggio's favorite subjects are young men in various states of undress.

The book goes on to decry paintings showing too much nudity, as though nudity equals sexuality-- something the book itself wants to address in scenes where its heroine champions her right to study the body and anatomy! And yet it still falls back on lazy stereotypes that evil men draw sexy paintings while good girl Gentileschi paints morally pure Art. It seems totally unaware of the fact that the viewer brings their own interests to the work, as in any art form. There's a scene where Gentileschi is horrified that a man might find her Susannah and the Elders painting sexy, and yet previously she bemoaned how other artists cavalierly depict female nudity. It's okay when she does it, but not them.

The book makes Gentileschi's father, Orazio, into a bumbling idiot with no talent, even though several years after the events of this book take place, he becomes a noted patron of Queen Henrietta Maria, the woman after whom Maryland was named. Orazio also scorns Caravaggio multiple times in the book, saying his interest in light and shadow is passe and that his work is gruesome-- when in reality both Orazio and his daughter are considered Caravaggisti. The book also depicts him as unable to appreciate his daughter's work, when it was a matter of record that he boasted about her talents.

It does all this to further the idea that Artemisia was ahead of her time, that the establishment (men) couldn't understand her, and that she had feminism all figured out before it had ever been invented. The book depicts Artemisia as right at every turn, about everything, too talented to be properly understood, and with goals that are incomprehensible to her male contemporaries-- all things that are entirely untrue, even inside the novel itself. A huge amount of fretting is spent depicting how Artemisia isn't free, how she can't go wherever she wants, how she is constantly chaperoned, yet her rapist attempts to assault her when she is without a chaperone. The book puts this down as a weird irony, and no more is said on the subject. The book's internal logic is broken.

In the end, the feminism in this book is reductive, second wave at best, terf-y at worst. In the book, gender nonconformity is briefly explored when Artemisia draws a man in a dress; she is trying to understand and perhaps break the gender binary. The scene is itself lovely, one of the more deftly written moments in the half of the book I read. And this is later ruined, rendered ugly by Artemisia using the story to scare away a potential suitor. Breaking the gender binary is fine when a a gender-conforming cis person is in control of it, but the bodies of nonbinary / trans / gnc people are also useful as a medium of disgust and horror.

I read historical fiction so I can go back in time, and see the morals and cultures of a past era. I don't read historical fiction to learn historically fictitious tales about how everyone was wrong except one woman who has an entirely anachronistic view of the world, presumably from birth. It's boring, ideologically reductive, and incredibly uncreative.

[Laura Spira · Rating 4 out of 5]

I have been interested in the paintings of Artemisia Gentileschi for a long time and knew her story so I was little doubtful about a fiction version of her life. But Elizabeth Fremantle has written an excellent book. Few writers manage to portray the art of painting effectively but she manages it very well although I was still thankful for Google which made it possible for me to look at them while I read.

Her evocation of the surroundings in which Artemisia lived - the constraints of both her physical surroundings and the social norms - is very vivid and often horrifying.

The book's afterword explains the author's personal reasons for writing the book, and the extent to which she has fictionalised the history ,which is helpful for the reader - I wish more writers in this genre did the same.

My only real quibble is that I would have liked to read more about Artemisia's subsequent life and her later achievements which were significant.

Thanks to Netgalley and Michael Joseph/ Penguin Random House for the ARC.

[Elise · Rating 2 out of 5]

2.5 stars

I wish this would have been as good as The Marriage Portrait was. They are both Historical Fiction set in Italy with a headstrong female character who ends up in a relationship she doesn't want to be in, and both novels feature the act of painting. However, they couldn't be more different in execution.

You probably know the saying: "show, don't tell". I feel like this author has never heard of this sentence because the writing is very clunky. There is no showing, only telling, and it makes the story feel flat. The word choice is also questionable, for a book set multiple centuries ago, the way the characters speak is too contemporary. It could have been 100 pages shorter. For a 350-page book (which is not even that long) a lot of scenes seem to happen over and over, which made it really hard for me to be interested in what I was reading.

The characters are not memorable. The father figure is very much like a mustache twirling bad guy, the same goes for Tassi. If you had told me that this is set in 19th century Belgium, I would have believed you. There is nothing that transports the reader to Rome in the seventeenth century, except for a few mentions of the Colosseum etc. The writing does not make the grand city of Rome feel grand at all.

Did I hate it? No. But there were just too many elements that bothered me, so 2.5 stars it is.

[Akemichan · Rating 2 out of 5]

Come spiega nelle sue note, l'autrice ha voluto rappresentare la parte della vita di Artemisia soprattutto in riferimento allo stupro subito e alle sue conseguenze perché è una tematica a lei cara avendola vissuta in prima persona.
E' una scelta legittima, soprattutto in campo artistico.

Tuttavia, io avrei preferito avere l'occasione per conoscere Artemisia oltre allo stupro. E, complice uno stile bruttino, non mi sono appassionata nemmeno alla vicenda e alla stessa protagonista, che a me è risultata la maggior parte delle volte passiva e per nulla "disobbediente" (va bene la vicenda del processo, ma è comunque un processo che lei non voleva e che le hanno imposto).

Una cosa però è stata interessante: la descrizione del quadro della Giuditta di Caravaggio da parte di Artemisia. Non so se sia una cosa personale dell'autrice o l'abbia letta da qualche storico dell'arte, ma sono andata a cercarmi il quadro e ora non posso non vedere quella descrizione. Non ho le competenze per criticare Caravaggio ma diamine se la composizione della scena di quel quadro è senza senso (e lo è ancora di più in comparazione con quello di Artemisia).

[Gianna Genova · Rating 3 out of 5]

Let me be clear: I love Artemesia Gentileschi. I was lucky enough to study about her in some art history classes before visiting the Uffizi and seeing her Judith Slaying Holofernes in person, which absolutely floored me with its power and beauty.

Unfortunately, this book fell a bit flat for me. It felt like a lot of the same things were happening over and over again. It’s also short; the margins and font size are huge which artificially inflates page number.

I’m interested to read A Portrait in Shadow, another Artemesia novel that interestingly came out this year, to see if that resonates with me more.

[adam · Rating 2 out of 5]

artemisia gentileschi is such an interesting historical figure and incredibly talented painter, but i thought this fictionalized account of her life was lackluster and really didn't do her strong personality justice. the writing was decent, but the pacing was slow, the plot felt repetitive, which made the page count drag on, and the pov changes were a strange choice for a book claiming to let artemisia tell her own story. i also felt like the author took a lot of liberties with dialogue, making the novel less historically accurate than it could have been. i'd love to read a better novelization of artemisia's life! this one just wasn't it for me.

[Donna Edwards · Rating 5 out of 5]

This was everything I'd hoped for and so much more. Fremantle has immense talent and told the story of an amazing and inspiring woman beautifully, rendering her human in the best and worst moments alike. The attention to detail - so necessary in a narrative filled with painters - was absolutely engrossing and doesn't let you forget for a moment that this is 1611 Rome.

[Emma · Rating 4 out of 5]

This is a story of determination, perseverance, passion for your calling. This story is based on a real artist and her experiences in the male dominated art world of Rome and Florence in the seventeenth century. It wasn’t an easy read: the odds stacked against Artemesia, completely at the mercy of the men in her life. Many thanks to Netgalley for an arc of this book.

[Matt · Rating 5 out of 5]

Known for her strong character and exquisite - yet brutally honest - depiction of life through her art, Artemisia Gentileschi appears as alive in this novel as she does on the canvas. Elizabeth Fremantle has captured me since the release of the wonderful Queens Gambit.
She is, of course, the true heroine of this story.

Time has little meaning between its pages...

⭐️⭐️⭐️⭐️⭐️

[Liz · Rating 5 out of 5]

absolutely incredible. it felt so alive. i listened to the audiobook narrated by Emma D'Arcy who did a wonderful job - highly recommend

content warnings: graphic on-page rape, torture, injury detail, alcoholism, misogyny, homophobia

[Annelies - In Another Era · Rating 5 out of 5]

Artemisia Gentileschi helps her father Orazio with his work as a painter and it soon becomes clear that she may be more gifted than he is. However, when commissions aren’t coming in as much as they hoped, Orazio wants to marry his daughter off to a wealthy husband. When Agostino Tassi enters Artemisia’s life to give her painting lessons, it seems that his intensions aren’t as honorable than she thought.

Ever since I read Susan Vreeland’s book on Artemisia a few years ago, I have found both her life and her work fascinating. I stood in front of her Judith slaying Holofernes at the Uffizi last spring with my eyes wide open. So when I heard that my favourite author Elizabeth Fremantle who is known for her Tudor and Stuart books, would be publishing a novel about her, I was immediately interested.

It’s great to see that Fremantle takes a different approach than Vreeland. Fremantle describes the period when Artemisia lived in Rome before her marriage – and thus the period of her rape and trial. We follow her creating her first Judith and her first Susanna. To the contrary Vreeland’s ‘The passion of Artemisia’ covers the whole period after that when she goes to Forence.

This Artemisia is still searching what she wants from life and how her art can reflect that. Her father Orazio is a determining factor in the lives of his daughter and sons. And then there is Zita, her chaperone and occasional model who pursues her own demons.

This isn’t the story of a female painter trying to break the glass ceiling with her work. This is the story of a young girl being wronged and trying to gain recognition for it and, above all, escape from it. A woman who wants to be able to make her own choices – and that’s a story of all times.

Although we don’t know a lot about what really happened to her, Fremantle writes a compelling story together. You almost hope there will be a sequel but I believe this will not be the case when I read her historical note and personal motivation to write this book. Another great novel that didn’t disappoint and I’m already eagerly looking forward to Fremantle’s next book.

Dutch review:
Artemisia Gentileschi helpt haar vader Orazio bij het schilderen en al snel wordt duidelijk dat zij misschien wel meer talent heeft dan hij. Wanneer ze echter te weinig opdrachten krijgen, wil Orazio zijn dochter een rijke man aansmeren. Zo komt Agistino Tassi in haar leven - ook een schilder - maar hij heeft tijdens haar bijlessen een ander doel voor ogen.

Sinds ik een aantal jaar geleden Susan Vreeland's boek over Artemisia las, vind ik zowel haar levensverhaal als haar werk fascinerend. Ik stond afgelopen voorjaar voor haar Judith slaying Holofernes in het Uffizi met open ogen te kijken.

Toen ik hoorde dat mijn favoriete auteur, Fremantle die gekend is voor haar Tudor en Stuartboeken, een fictieboek over haar zou uitbrengen was ik natuurlijk ontzettend blij.

Het fijne is ook dat Fremantle een andere insteek kiest dan Vreeland. Fremantle beschrijft de periode dat ze in Rome woonde voor haar huwelijk en dus ook de periode van haar verkrachting en proces. Het is de tijd dat ze haar eerste Judith en haar eerste Susanna creëert. Terwijl Vreeland de hele periode daarna uitwerkte, die hier dus niet aan bod kwam.

Deze Artemisia is nog zoekende in zowel wat ze wil in haar leven als in haar kunst. Haar vader Orazio is een bepalende factor in het leven van zijn dochters en zonen. En dan is er Zita, haar chaperone en occasioneel model die haar eigen demonen najaagt.

Dit is niet het verhaal van een vrouwelijke schilder die het glazen plafond probeert te doorbreken met haar werk. Dit is het verhaal van een jong meisje dat onrecht wordt aangedaan en die daar erkenning voor probeert te krijgen en er vooral uit wil ontsnappen. Een vrouw die haar eigen keuzes wil kunnen maken - en dat verhaal is van alle tijden.

Hoewel we heel wat zaken niet weten over wat er echt is gebeurd met haar schrijft Fremantle een overtuigend verhaal bij elkaar. Je hoopt bijna dat er vervolg komt.

Opnieuw een topper en ik kijk alweer smachtend uit naar Fremantle's volgende boek.

[Paging Caitríona · Rating 5 out of 5]

Disobedient by Elizabeth Fremantle is a fictional novel based on the life of baroque female painter Artemisia Gentileschi, set in Rome in the early 17th Century.  Rome during this time was the major religious and cultural centre in Italy and Artemisia’s story will be familiar.   An incredibly talented artist, hindered by her gender.  Nothing more than a commodity, property to be exchanged between debtor and creditor as her father tries to wed her to the highest bidder.  Jealous of her superior talent, he enters into deals with devils in an attempt to change the course of Artemisia’s life, ensuring she remains down at heel to all the mediocre men in her life. 
 
This novel has a wonderful, if somewhat bloody beginning, acting like a promise of what’s to come and the author had captured my attention straight away.  6-year-old Artemisia witnessing with her father the execution of a young girl, an experience that will shape and mould her artistic vision. 
 
Elizabeth Fremantle has created an incredible character in Artemisia.  Finally, a female protagonist who is not reduced to sitting in a corner as silent tears of rage drip down her cheeks, no more internal dialogue berating herself over expressing anger.  Artemisia is furious; she is vocal about it and rightly so.  It was refreshing to see how Fremantle handled this portrayal of female rage.  Ultimately Artemisia is constrained by the era she is born into but, she is not willing to sit noiselessly with the injustice of it. 
 
All that wonderful characterisation aside, this novel is fast paced, exciting, horrifying, gruesome, infuriating and while I cannot admit to ever having a keen interest in the history of art, you guessed it I’m off down a carmine red rabbit hole.    
 
Thank you to the author, @netgalley and @michaeljbooks for a digital ARC in return for an honest review. 
 
Disobedient is out July 27th, 2023.
 
*** DM for trigger warnings***

[Kelly · Rating 4 out of 5]

This is a very strong, powerful novel. Very difficult to read in the middle and touching on sensitive topics, but it’s worth it for the strong female voice of Artemesia. This is a novel of strength, revenge, and female power, focusing on the real life facts known about Artemisia Gentileschi’s life. Artemisia was an Italian painter, born in Rome, eventually an artist of Florence, and this novel takes place while she is still living with her family in Rome, around the time she paints one of her most famous paintings. It’s the story of how and why she painted it. The language of the novel is beautiful, focusing a lot on the language of colour and observation, as you would expect from a story about an artist. I think the author has done a terrific job portraying a convincing version of events with fleshed out characters who you can really love and loathe. It’s a novel full of very strong emotion, and it’s inspired from the emotion and realism that can be seen in her paintings. And of course this is totally my genre - art, Renaissance, historical fiction - I was always going to like this book, most likely 🤪😇

[Jen Burrows · Rating 4 out of 5]

Disobedient is a compelling historical novel based on the early life of Artemisia Gentileschi.

Artemisia is an engaging heroine, ambitious, unapologetic and proud of her talents. She is a strong survivor, and sometimes it is difficult to separate her personality from her archetype. Zita and Orazio are more vividly drawn: both irredeemably flawed and yet there is something sympathetic about their complexity.

I loved the way Fremantle ties Gentileschi's art into her life, capturing the raw emotion of her paintings on the page. It really brought the world of renaissance art to life for me, imaginging how an artist might transcribe their personal passions into what seem to be straightforward biblical scenes.

Fremantle is an evocative, emotive storyteller, and Disobedient is a vivid reimaginging of an incredible woman.

*Thank you to Netgalley for the arc in exchange for an honest review*

[amie · Rating 4 out of 5]

“Let her see what becomes of girls who disobey their fathers.”

“She does not really wish he was dead, only that he was different. But perhaps if he was not the man he is, she would not be herself either.”

[eleanor teather · Rating 3 out of 5]

a bit too girlboss for my tastes but also based on a true story and therefore i must say this is sick as fuck. vivid storytelling although i wish she had redeemed the father in any way but it just wasn’t good enough

[Claire O'Sullivan · Rating 5 out of 5]

Wow - incredible story - beautifully written. I loved this !

[Fiona · Rating 5 out of 5]

'She can see with absolute clarity the way in which works of art - all art - speak to each other down the years. Her painting is part of that conversation.'

When I was 16 years old, my dad used to sleep on the floor in my bedroom. My PTSD was the worst it had ever been, and I couldn't sleep at night without some background noise and one of my parents for company. This was also at the height of my obsession with The History Chicks' podcast, and so, every night Dad fell asleep to the sounds of an episode of a podcast he grew to despise out of sheer exposure to it. They released an episode on Artemesia Gentileschi in 2017. It was one of the few episodes I couldn't re-listen to. Something about it hurt too much.

Artemesia Gentileschi was 17 years old when she was groomed, raped, and then forced to testify about her abuse while being tortured. In the same year she painted her infamous Judith , and one of the great Renaissance masters was born.

I picked this book up as soon as I realised who it was about. Artemesia occupies a space inside me in a way that is similar for a lot of people. Her work resonates. Unapologetic and brutal, and the truth. Elizabeth Fremantle captures that perfectly.

I could tell you that this is brilliantly written. That stylistically it is gorgeous, that the motifs used are gut-wrenching and the emotional pacing is spot-on. I could tell you that it feels like a written record of a woman who's life was previously most accessible through the paintings she left behind. I could tell you that it made me cry. That I will treasure my copy and flick to passages I have underlined whenever I need to lean on it.

The most important thing though, is that it has been 400 years since the events that this book was based on transpired, and nothing has changed. The author's frustration bleeds through, and it is like in the quote above, one piece of art in conversation with another.

And yet, despite the tragedy and the frustration and the horrible, awful parallels to modern society, this is a book that is full of hope, and strength and beauty. It is intimate in a way I can't articulate, and deeply personal to me in a way I will never be able to explain. But mostly, it is such a privilege to read a novel that matters so deeply to its author. Gentileschi painted her truth so that history couldn't erase it. Fremantle wrote hers. What more could a reader ask for?

[Anthony Conty · Rating 5 out of 5]

“Disobedient” by Elizabeth Fremantle, author of the phenom “The Queen’s Gambit,” masterfully bridges the gap between the 17th century and today’s society, a feat that top-notch historical fiction often accomplishes. As a reader, I was captivated by the narrative, even though I had no prior knowledge of the real story. The book's ability to resonate with modern readers, such as myself, is a testament to its relevance and the author's skill in storytelling. I found myself relating to the protective father’s overbearing nature, a universal theme transcending time.

Historically, Artemisia Gentileschi is a famous artist constrained by the limits on women in 17th-century Italy. She suffers a horrible indignity you may know about if you studied her. A little knowledge of art, which I do not have, would help as we examine how people admire and simultaneously dismiss the female artist’s work and treat her like an object.

Perhaps I should not have been surprised by the gender politics in Italy during this era, but it was extreme. Any sexual assault was essentially the woman’s fault and expected. Artemesia becomes an unlikely symbol of feminism for reasons you would learn from a simple Wikipedia search; nevertheless, do not do that so that the book still surprises you.

Retellings remain one of the trickier genres to tackle since they involve taking actual, well-known events and trying to insert thoughts and feelings into them. Empathizing with strong-willed Artemesia is easy.

The themes of self-reliance, feminism, sexual assault, and individual autonomy remain relevant today. Knowing Artemesia’s work makes the story more interesting. It effectively puts you there. Our heroine refuses to follow orders and norms to make her life easier. Art and personal freedom matter to her, and she feels no need to take the easier route. She wanted the right to live.

[Clarissa Salmon · Rating 4 out of 5]

This is without a doubt the best feminist historical novel I’ve read! I often find myself frustrated with the depiction of so called “strong” female characters in historical fiction. Either they’re totally passive, or they’re somehow magically able to transcend patriarchy altogether through a combination of wit, witchcraft and deployed sexuality. It just reads a little too manic pixie dream girl (looking at you Hamnet).

In ‘Disobedient’, Freemantle does not shy away from the reality of limitation in 1600s Italy. She shows her protagonist at her most powerless: physically weaker than her antagonists, disregarded by the law, shamed by society. She shows a woman pushed beyond every breaking point, humiliated and violated. And yet- Artemisia triumphs, gaining recognition for her art and securing financial stability.

There’s a lot of imagery in the novel, but the main narrative thread is Artemisia’s transition between two paintings. She grows from Susanna (vulnerable, afraid) to Judith- repairing justice on her own terms. Freemantle views Artemisia’s Judith painting as revenge against her rapist and the men who enabled the violation. Although art historians are rightly cautious to tie Artemisia’s art to her biography, Freemantle suggests it is a credit to Artemisia to recognise the catharsis of the Judith- an interpretation I really enjoy.

All in all, a great depiction of a historical figure- now I just need to go to Florence to see Artemisia’s work! And to read more of Freemantle’s depictions of “women finding expression through adversity”.

[Helen · Rating 4 out of 5]

Elizabeth Fremantle is an author I always look forward to reading and I have enjoyed all six of her previous novels, including her two historical thrillers published under the name E.C. Fremantle. This seventh novel takes us to 17th century Italy and tells the story of Artemisia Gentileschi, one of the most important and accomplished female painters of her time.

Artemisia grows up in Rome, the daughter of the painter Orazio Gentileschi. Having lost her mother while still a child, Artemisia is raised by her father, spending time in his workshop learning to draw and paint. Orazio is a talented artist, heavily influenced by the more famous Caravaggio, but it quickly becomes obvious even to him that his daughter’s work is better than his own.

In 1611, the painter Agostino Tassi enters Artemisia’s life, first as her tutor and then as her intended husband. However, Tassi’s arrival leads to a terrible experience for Artemisia – something I won’t go into here because I think any reader who has come to this book with little or no knowledge of Artemisia’s life will probably prefer to discover her story for themselves. The second half of the book becomes quite dramatic as the repercussions of this incident become clear, so if you don’t already know all the details in advance, which I didn’t, it’s interesting just to watch it all unfold.

Artemisia is a great subject for historical fiction, being a strong, ambitious, determined woman whose work has left a lasting impact. Although we can’t know her true thoughts and feelings, Fremantle does a good job of getting inside Artemisia’s head and showing us what may have provided the inspiration for some of her paintings, such as Susanna and the Elders and Judith Slaying Holofernes. You’ll probably find yourself wanting to look up the paintings online as you read. As well as Artemisia, there are other characters in the novel who are equally well drawn; I’ve already mentioned Tassi and Artemisia’s father Orazio, but there’s also Zita, who becomes a model and chaperone for Artemisia, and Piero, Orazio’s assistant.

Disobedient covers only the earlier part of Artemisia’s life and the novel ends with a lot of her story still untold, but after reading Fremantle’s author’s note where she explains her personal reasons for wanting to write this book, I can see why she chose this period to focus on and I appreciate the courage it has taken for her to do so. I don’t think it’s my favourite of her novels, simply because some of the other settings and historical figures she has written about have interested me more, but I still enjoyed this book and am pleased to have had the opportunity to add to my knowledge of this fascinating artist.

[Ingibjörg · Rating 5 out of 5]

Absolutely fascinating story, excellently rendered by the author, who never disappoints.