Abstract
Purpose. Based on the anthropocentric approach to the analysis of visual self-presentations of Artemisia Gentileschi in paintings, to present the artwork as self-objectifications of the artist, which give rise to a new cultural reality and are at the same time a means of knowing the essence of man. Theoretical basis. The principles and methods of philosophical and anthropological research in combination with biographical, historical and comparative, iconographic, figurative and stylistic methods were used when writing the article. Among philosophical and anthropological methods the principle of anthropological reduction was used, based on which the works by Artemisia Gentileschi were analyzed as her self-objectification, principle of extrapolation of a separate fact of the painter’s life and anthropological interpretation of art evolution, when an attempt is made to know their creator through a series of chronological consistent works as figurative objectification. The biographical method was used when working with data on the painter’s life, iconographic and figurative stylistic – when analyzing the art visuals: self-portraits, allegories and narrative paintings. The analytical work was carried out in stages as transition from an iconographic interpretation of paintings with gradual elimination of art and style characteristics as extra-anthropological cultural constants with subsequent anthropological reduction of cultural image. Originality consists in the author’s method of analyzing the works of visual art in terms of anthropocentric approach, as well as in considering the artwork by Artemisia Gentileschi as her self-objectification as such that give rise to a new cultural reality. Conclusions. The artworks by Artemisia Gentileschi in diachronic deployment can be seen as the painter’s self-objectification, which traces the evolution of self-expression from a person with traditional self-perception by social gender stereotypes to the phenomenon of personal life, which will determine further evolution of her self-identification and extirpation of sense of shame through virtual revenge, repentance, guilt, and formation of component of the painter’s identity as exemption from social gender prejudices and stereotypes on roles and standards of behavior socially assigned to women.
Keywords Artemisia Gentileschi  anthropocentric approach  anthropological interpretation  man  organon-principle  painter’s self-objectification  the principle of "open question"  the principle of anthropological reduction  visual self-presentation in painting  Артемизия Джентилески  Артемізія Джентілескі  антропологическая интерпретация  антропологічна інтерпретація  антропоцентрический подход  антропоцентричний підхід  визуальные самопрезентации в произведениях живописи  візуальні самопрезентації в творах живопису  людина  органон-принцип  принцип "відкритого питання"  принцип "открытого вопроса"  принцип антропологической редукции  принцип антропологічної редукції  самообъективация художника  самооб’єктивація художника  человек
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DOI 10.15802/ampr.v0i17.206728
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Die Stellung des Menschen im Kosmos.Max Scheler - 1928 - Annalen der Philosophie Und Philosophischen Kritik 7:169-170.
Принцип милосердия.И.Т Касавин - 2013 - Epistemology and Philosophy of Science 36 (2):5-15.

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