Artemisia Gentileschi, Self Portrait as Saint Catherine of Alexandria, about 1615-17. @The National Gallery
Lady Denman Cup Competition 2021 “Let me show you what a woman can do!”
The NFWI is pleased to announce that the Lady Denman Cup Competition 2021 will be held in partnership with the National Gallery. Using no more than 500 words, WI members are invited to submit a piece of writing, fact or fiction, in any style (story, poem etc.) based on the above painting by Artemisia Gentileschi.
The cost for entry is £7 per member
Entries can be submitted either via email or by hard copy.
Each entry must include a total word count; entries with over 500 words will not be accepted
Postal Entries: Entrants must submit 4 copies of their entry, typed if possible, on A4 paper to the Federation Office, together with an individual entry form, by 30th July 2021
Electronic Entries: Please email your entry together with an individual entry form to by 30th July 2021
Please note that entries will be judged in the first instance at federation level and up to three entries from each federation can go forward to the national competition.
- Any entries sent directly to the NFWI Unit without being approved by the federation cannot be entered and will be returned to the entrant.
- No correspondence will be entered into after the competition.
Book tokens will be given as prizes: 1st prize, book tokens to the value of £75; 2nd prize book tokens to the value of £50 and 3rd prize book tokens to the value of £30. The winner/winning federation will be presented with the Lady Denman Cup.
#ArtemisiaToo: Artist, Avenger, Assassin
For the very first time, the National Gallery is giving audiences in the UK the opportunity to see a major exhibition of work by the seventeenth-century Italian artist Artemisia Gentileschi. The paintings are bold and often extremely violent in theme. What inspired Artemisia repeatedly to represent biblical stories of murder, rape, and brutality in innovative ways? In this illustrated talk, Professor Emma Rees reveals what lay behind Artemisia’s artistic fascination with the same subjects which preoccupied her male counterparts in the Caravaggist School, but which were given a unique perspective in her hands. She argues that the paintings vividly depicting revenge and female empowerment – from Judith of Bethulia beheading Nebuchadnezzar’s tyrannical general, Holofernes, to Jael’s murder of Sisera, commander of the Canaanite army – are no less than Artemisia’s provocative and unapologetic early modern expression of today’s #MeToo movement.
To find out more about the ‘NO MORE violence against women’ campaign and how you can get involved, please visit www.thewi.org.uk/campaigns/key-and-current-campaigns/no-more-violence-against-women