Roman Charity — History & Facts
Few stories from antiquity have stirred such fascination and debate as the tale of Roman Charity, and Artemisia Gentileschi’s interpretation stands out for its boldness. The subject—an adult daughter secretly breastfeeding her imprisoned father to keep him alive—was controversial, especially for a woman artist in early 18th-century Italy. While Gentileschi painted several works exploring female strength and suffering, her decision to tackle this morally charged theme in Roman Charity around 1700 has prompted scholars to ask whether she saw herself in its narrative of compassion and defiance.
The painting’s provenance is uncertain, and its medium remains undocumented, adding to the aura of mystery that surrounds it. In this scene, the viewer is drawn into the dim prison cell at the moment the daughter, Pero, offers her breast to her starving father, Cimon. Pero’s gaze is steady, her arm cradling Cimon’s head in a gesture that is both nurturing and resolute. The composition is intimate, the figures pressed close together, with light falling directly on their faces and hands, heightening the emotional intensity.
The chains on Cimon’s wrists are rendered with heavy realism, underscoring his helplessness and the gravity of his plight. Unlike Peter Paul Rubens’ more theatrical Roman Charity, Gentileschi chooses restraint and psychological depth, focusing on the silent exchange of trust and sacrifice between father and daughter. Little is known about the early history of this particular Roman Charity. No commission or patron has been definitively identified, and the painting’s whereabouts were unrecorded for much of the 18th and 19th centuries.
It is possible that the work was created for a private collector, given the subject’s intimate and provocative nature. Today, it is recognized as a late work by Artemisia Gentileschi, reflecting her enduring interest in stories of female agency and resilience. The painting’s journey from obscurity to recognition mirrors the broader rediscovery of Gentileschi herself, whose reputation has grown steadily as scholars and audiences revisit her bold choices and technical skill.
More Artworks by Artemisia Gentileschi

Judith Beheading Holofernes
Artemisia Gentileschi

Judith Slaying Holofernes
Artemisia Gentileschi

Bathsheba at Her Bath
Artemisia Gentileschi

Judith and Maidservant with Head of Holofernes
Artemisia Gentileschi

Adoration of the Magi
Artemisia Gentileschi

Danaë
Artemisia Gentileschi

Susannah and the Elders
Artemisia Gentileschi

Judith and her Servant with the Head of Holofernes
Artemisia Gentileschi

Madeleine pénitente, par
Artemisia Gentileschi

Portrait of a Gonfaloniere
Artemisia Gentileschi






