Is it possible to separate the context of the life of the artist from their work? Is it right?

Over the course of fall quarter, I examined structural integrities of arches from societies long gone, religions and myths of grandeur and drama from the classics, sculpture and paintings of neoclassical movements, and why each of those cultural landmarks are important in today's world. For me, it was key to understand and appreciate the balance between investigating modern implications and scrutinizing from modern perspectives. That note proved especially challenging when exploring a historically misdirected Baroque artist: Artemisia Gentileschi. Our Professor and personal Indiana Jones, Mariella Mastrogiacomo, fostered my deeper analysis than the binary terms of trauma and gender that historians and art critics had originally relegated to this "Maestra Perfetta."