Thormask – I Might Bisexual But I Don’t Like You Shirt
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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.”
Another highlight from the various letters on display is the insight they provide into Gentileschi’s tenacity as a businessperson. The documents chart her course as she moved around the affluent cities of Italy with her studio (and even, at one point, London), becoming one of the most celebrated painters of her day in the process. But what stuns most, inevitably, are the paintings themselves. Featuring a number of important loans, the show includes both versions of the iconic Judith Beheading Holofernes paintings—one from Florence’s Uffizi Gallery, the other from Naples’s Capodimente—hanging side by side. It allows you to compare the technical wizardry that lends them such a gut-wrenching, cinematic thrill, even without the knowledge of their common interpretation as an imagined vision of revenge against Tassi. Look closely enough, and you’ll see the flecks of red paint Artemisia appears to have flung at the canvas Jackson Pollock–style, sprayed alongside the jet of blood that erupts out of Holofernes’s semi-decapitated head.
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