The Village Players Concert Series
& Linda M. Smith, Ltd.
present
Tragedy to Triumph
THE STORY OF ARTEMISIA
a multimedia music performance
by Linda M. Smith
& Linda M. Smith, Ltd.
present
Tragedy to Triumph
THE STORY OF ARTEMISIA
a multimedia music performance
by Linda M. Smith
One night only!
Saturday, June 17, 2006 at 8pm
with
Linda M. Smith - guitar, piano, vocals
Eugenia Elliott - flute, background vocal
Katherine Hughes - violin, percussion, background vocal
Michael Smith - guitar
Chester Tocha - bass guitar
Robert Arendt - drums, background vocal
Art Direction by
Eric Gelehrter & Galina Shevchenko
at the Oak Park Village Players Theater
1010 W. Madison, Oak Park, IL 60302
For Tickets Call: 708. 524.1892
$20 Regular reserved seating
$50 Premium seating with post-show
Patrons Benefit Reception,
immediately following the performance
For ticket reservations and more information call:
708. 524.1892
or visit Linda M. Smith, Ltd.at
www.LindaMSmith.com
ABOUT ARTEMISIA GENTILESCHI
Inspiration for Linda M. Smith’s third album “Artemisia”
Artemisa Gentileschi (1593-1652) was the first recognized female painter in the world of post-Renaissance art.Born on July 8, 1593, to prominent
painter Orazio Gentileschi, Artemisia grew up surrounded by art in the
Artist’s Quarter of Rome, Italy. Artemisia was the oldest of five children and by the time she was 12 years old, had already experienced death and loss. Two of her brothers died during childhood, and her mother, Prudentia Montone, died giving birth.Upon realization that Artemisia was his only
child to show artistic skill, her father, Orazio, began to tutor her. From the beginning of her painting career, Artemisia’s technical skill beautifully
captured human emotion from a female perspective. At the age of 17, Artemisia completed her apprenticeship with her father but was unable to continue her education at any art academy because females were barred. Undeterred, Orazio arranged for a friend, Agostino Tassi, to teach her privately.But Tassi’s interest in Artemisia was not her art. Artemisia tried to thwart sexual advances from Tassi to no avail. Tassi raped her, then
promised to marry her to restore her reputation. With no other socially acceptable recourse, Artemisia became his reluctant lover. Artemisia’s
father found out the truth and charged Tassi with rape.The publicly
humiliating trial lasted seven months. Tassi denied raping Artemisia and instead made ludicrous claims that she and her deceased mother were promiscuous with many men and that Artemisia’s father took her virginity.
In the end, the trial revealed that Tassi was a multiple sex offender who had not only raped Artemisia, but had raped and impregnated his sister-in-law
and had arranged for the murder of his own wife, whom he also “acquired”
by rape.Although Tassi was convicted and sentenced to exile from Rome, Artemisia’s reputation suffered the most damage and the traumatic impact
of the ordeal was reflected in her work. Cathartic and symbolic, several of
her pieces were attempts to deal with her physical and emotional pain.
Some of her paintings showed historical and biblical female characters exacting revenge on male evildoers.Family friends attempted to restore Artemisia’s name by finding her a husband, Pierantonio Stiattesi, an artist
from Florence. They married two days after Tassi’s sentence and moved to Florence shortly thereafter.
In Florence, Artemisia befriended astronomer and mathematician Galileo,
as well as Michelangelo Buonarrioti and the powerful Medici Family. These friendships garnered her many commissions in Florence and helped her become an official member of the Academy of Design.However, though Artemisia’s work flourished in Florence, her personal problems continued. Her husband’s penchant for gambling put their family’s finances in ruin. Eventually they separated, and Artemisia was left with their surviving
children, debts and another damaged reputation. Despite her suffering, Artemisia’s paintings often portrayed women as feminine, yet strong individuals in atypical gender roles. Everywhere she settled after Florence,
her painting earned more artistic acclaim, especially in Genoa and Naples. Her work allowed her to travel the continent; she painted for King Charles I of England, King Philip IV of Spain and the Duke of Modena.Artemisia continued to paint into her forties. She died in Naples of unknown causes in 1652. After her death, her grave marker was lost during church renovations and her epitaphs, rather than mentioning her artwork, remembered her sexual scandal instead. In time, Artemisia drifted into art obscurity and her paintings were often wrongly attributed to her father or other artists.Centuries later, renewed interest in Artemisia uncovered her story, properly attributed her work and finally restored her reputation as one of the world’s most important female artists and a major artist of the Italian Baroque period.
ABOUT LINDA M. SMITH
Linda M. Smith’s singer-songwriter talents stem from a diverse personal background. Before Smith started performing at local bars and coffee houses in her early twenties, she was a budding classical pianist winning state-wide championships. She then began crafting her own songs and delved into the local music scene, emulating her contemporary musical idols, Carly Simon, Carole King and Joni Mitchell.Further inspired by guitarists Bruce Cockburn and Richard Thompson, Smith picked up the guitar and has not put it down since. She started experimenting with her voice and developed the unique vocal style heard on her albums today – a sound that blends folk with rock and a little bit of country.Smith’s music is romantic, soulful, earthy and mystical, and is best known for its lyrical and melodic freshness. By listening to a wide range of artists and musical genres, she continuously opens herself to ideas she encounters in her auditory adventures. Her music has been compared to the likes of Tracy Chapman, Suzanne Vega, Shawn Colvin
and Natalie Merchant.
Chicago musician Linda M. Smith
No stranger to introspection, Smith tackles a range of personal issues in her music, from anger and frustration, to love and passion. She draws upon her own experiences as artist, wife, mother and woman.As a songwriter, however, Smith’s uniqueness comes in her search for resolution. Beyond
just emotional expression, her stories - through song – look for hope and clarity in the midst of life’s toughest struggles.“I think most people want to hear more than unresolved anger. They want to hear about answers, resolution, closure, the things that they look for in their own lives. That’s why people relate very strongly to my music,” Smith said. “Many people tell me that they feel the songs were written just for them. “Smith released her self-titled debut album in 1998, and in 2000, released her second album, “Blame it on the Moon,” featuring renowned master guitarist Michael Smith. She will release her third album, “Artemisia,” in January 2006. “Artemisia”
is Smith’s first concept album and explores the life of Artemisia Gentileschi,
a revolutionary 17th century painter and the first female artist to achieve recognition in world of post-Renaissance art.Smith and her band have played numerous Chicago clubs and have become favorites at annual festivals like Evanston First Night, Harold Washington Library Festival of Poets, Old Town Art Fair, Park Forest Summer Nights Concert Series, Long Grove Arts Festival and Lincoln Square Concert Series. They have also toured universities across the nation.Smith is proudly sponsored by the Illinois Arts Council in conjunction with the National Endowment for the Arts.A Chicago native, Linda lives with her husband and producer Robert Arendt and their son, Stephen. In addition to recording and performing, she teaches guitar at the Old Town School of Folk Music in Chicago.
