Yet according to Letizia Treves, the curator who oversaw the acquisition and has now built a groundbreaking exhibition around the painting that charts Artemisia’s career with unprecedented depth and sensitivity, this was entirely coincidental. “I’ve been extremely reluctant to mention the #MeToo movement because, ironically, it had nothing to do with that,” says Treves. “It was a natural question that came to mind, but we had had her on our wish list for a very long time. We waited for the right picture to come along, and it just so happened it was right then and there.”
So goes the eternal dilemma of staging an exhibition of Gentileschi: specifically, how to balance her technical virtuosity and piercing psychological intuition as a painter with her undeniably fascinating biography. With just 15 months to put a show together, however, Treves set about building the National Gallery’s first major solo exhibition dedicated to a female painter with a different agenda in mind. “I made a very conscious decision early on that it would be extremely selective,” Treves adds. “There wasn’t a B-list. Every object plays a really important role, and if I wasn’t able to get that object, there wasn’t something that could replace it. It was this list, or that’s it. It meant the whole process of requesting works was much more straightforward. I really went for it.”
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