July 4th Juneteenth 1865 Because My Ancestors Weren’t Free in 1776 T-Shirt

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Another highlight from the July 4th Juneteenth 1865 Because My Ancestors Weren’t Free in 1776 T-Shirt but in fact I love this 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.

July 4th Juneteenth 1865 Because My Ancestors Weren’t Free in 1776 T-Shirt, hoodie, tank top, sweater and long sleeve t-shirt

To see Gentileschi’s boldest, most operatic paintings in quick succession is also to be plunged into the July 4th Juneteenth 1865 Because My Ancestors Weren’t Free in 1776 T-Shirt but in fact I love this shadowy realms of Rome’s notorious artist’s quarter at the turn of the 17th century, so memorably captured in all its gritty hedonism by the artist who preceded her, Caravaggio. Indeed, as Treves also explains, part of the reason for Artemisia’s relative obscurity until the 1970s lies not necessarily in her having been a woman, but the many centuries in which Caravaggio and his followers were all but forgotten, despite his outsize influence on painters of the following century as far-flung as Velázquez in Spain and Rembrandt in the Netherlands. “That’s something I’ve been quite keen to stress about why it took so long for her work to be re-acclaimed and reevaluated,” Treves adds. “Caravaggio was rediscovered in the early 20th century, Orazio Gentileschi probably in the 1950s. Although even if her pictures fell out of fashion, it did take her a little bit longer as an artist to be rediscovered, partly because she was a woman.”