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Artemisia Gentileschi, Judith Beheading Holofernes, circa 1613–14, oil on canvas, 199 × 162.5 cm, Galleria degli Uffizi, Florence It’s here again that Treves was forced to grapple with the delicate tension between presenting Artemisia’s life as it was, and the risk of sensationalizing it. Eventually, she decided that the benefits of including these legal documents outweighed the possibility they might eclipse the art itself. “The more I read and thought about the letters and the fact that her voice is so strong, I felt it was the right choice to ask for the transcript,” Treves explains. “For me, it’s not just about the episode of her rape and the ordeal afterwards and the court proceedings. It’s about giving Gentileschi her voice from that very first room, and the rarity of being so in touch with the voice of an artist from 400 years ago, as we are in her letters too. I definitely felt it belonged in the show.”

 

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