Simon Vouet’s “Woman Playing Guitar” is a captivating painting that has intrigued art historians and enthusiasts for centuries. This Baroque masterpiece, depicting a woman engrossed in music, offers a fascinating glimpse into 17th-century art and culture. While the painting itself speaks volumes, its journey through time, marked by rediscovery and scholarly debate, adds another layer to its rich narrative.
Rediscovering a Baroque Gem: The History of “Woman Playing Guitar”
Initially documented in an inventory of the Bona Memoria Signor Marchese Francesco Patrizi collection in 1814, the “Woman Playing Guitar” was then attributed to a “Flemish painter.” It wasn’t until the mid-20th century that art historian Luigi Grassi, in 1956, recognized the painting’s true authorship, attributing it to the renowned French artist Simon Vouet. Grassi’s attribution marked a turning point, placing the artwork within the context of Vouet’s early Roman period and sparking further scholarly interest. He even noted its stylistic similarities to works associated with Caravaggio, hinting at the artistic influences shaping Vouet’s early style.
Scholarly Perspectives and Dating the Masterpiece
Following Grassi’s attribution, “Woman Playing Guitar” became a subject of considerable discussion among art historians. Gerald Burdon, in 1960, highlighted a 1677 list by Robert Harpur, an art dealer, which included “A woman playing upon ye Ghitarre orig: of Monsr: Voet,” suggesting an earlier recognition of Vouet’s authorship. William R. Crelly, in his seminal 1962 work on Vouet, further solidified the painting’s place within Vouet’s oeuvre, considering it a key example of his Caravaggesque Roman period alongside “Two Lovers.” Crelly drew parallels to Orazio Gentileschi’s “Lute Player” and Artemisia Gentileschi’s style, situating “Woman Playing Guitar” within the artistic currents of its time.
The dating of the painting has been a topic of ongoing debate. Donald Posner, reviewing Crelly’s work in 1963, suggested an even earlier date, possibly as early as 1615-16, emphasizing the influence of Borgianni on Vouet’s early works. Georgette Dargent and Jacques Thuillier, in 1965, leaned towards a slightly later dating of 1618–20, while acknowledging the possibility of student involvement. Later scholars like Arnauld Brejon de Lavergnée and Jean-Pierre Cuzin (1973) also proposed a date around 1618, but raised questions about its autograph status, even suggesting it might be a copy.
More recent scholarship, however, has leaned towards reaffirming Vouet’s authorship and refining the dating. Anna Maria Pedrocchi (2000) placed the painting early in Vouet’s Roman period, emphasizing its Venetian chromaticism and Caravaggesque character. Rossella Vodret and Claudio Strinati (2001) dated it around 1621–22, linking it to paintings derived from Caravaggio’s “Lute Player” and suggesting a more accurate title might be “Singer Playing the Guitar” due to the figure’s half-open mouth. Francesco Solinas (2005) proposed a date of about 1619, connecting it to other works by Vouet from that period.
“Woman Playing Guitar” in the Context of Vouet’s Art and Baroque Rome
The painting’s subject matter, a woman playing a guitar, connects it to a broader artistic trend in 17th-century Rome. The depiction of music and musicians was popular, reflecting the cultural importance of music in Baroque society. Furthermore, the instrument itself, identified by Francesco Solinas as a “chitarra d’amore,” possibly of Neapolitan origin, adds a layer of cultural specificity to the artwork. Bernardina Sani (2005) even suggests a link to a drawing by Ottavio Leoni from around 1618, depicting a woman playing a guitar, potentially representing a model used by Vouet, highlighting the artistic networks and shared models within the Roman art scene.
“Woman Playing Guitar” stands as a testament to Simon Vouet’s mastery and his ability to synthesize various artistic influences into a unique style. The painting’s compelling realism, dramatic lighting, and rich color palette are hallmarks of Baroque painting, while the intimate portrayal of the woman musician creates a captivating and enduring image. Its continued presence in exhibitions and publications, as seen in recent catalogs from the Metropolitan Museum of Art and Robilant + Voena, confirms its significance within the canon of Baroque art and its enduring appeal to contemporary audiences. This “woman playing guitar” continues to resonate, inviting viewers to appreciate the artistry of Simon Vouet and the vibrant cultural landscape of 17th-century Rome.
