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and shaped in a way that alludes to a cross, into flesh with an exertive force. Abra is depicted as almost a mirror to Judith, with a youthful appearance that departs from earlier portrayals of her character. She holds firm to the left arm of their victim as he pushes against her breast in desperation. Holofernes, whose blood puddles and spurts a deep red to contrast the white sheets of his deathbed, is overpowered and without hope.
303:, a colleague of Orazio who was hired to teach Artemisia linear perspective, raped the young Artemisia. A public trial was later brought forward and lasted through the summer of 1612. While under oath, and throughout torture by the Sibille, Artemisia avowed: “It’s true, it’s true, it’s true, everything that I said.” Tassi was ultimately found guilty of the crime and temporarily banished from Rome.
175:, in her assassination of the Assyrian General Holofernes. Bethulia was under siege and on the verge of surrender following the invasion of the Assyrian army. Unable to stand by while her people suffered, Judith set out to enact divine justice by killing their general, Holofernes, and ultimately dismantling the Assyrian forces.
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That said, whether or not the various
Judiths are allegorical self-portraits is a rather contentious subject. Gentileschi's violent depiction of the Judith theme is, according to Mary Garrard, most often made parallel to the traumatic events within her early life and is centered on gendered defiance.
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Gentileschi centers her work on the labor of the killing, which forces the gaze to start amid the tangle of blood, limbs, and metal. Her ability to display brutal realism is shown particularly in the details, such as the arc of carotid blood that spatters across the frame. This scene displays the use
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There exists a pattern of
Gentileschi using her figure as a model in her work which has afforded the artist the innate ability to render the female form. Although this practice would not constitute every painting a self-portrait, there are those with that exact intention, including works such as the
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With a scheme to feign surrender, Judith adorned herself in finery to seduce
Holofernes. Along with her handmaiden, Abra, the two women approached the enemy encampment with an act of deference that granted them entry. Holofernes quickly succumbed to Judith and invited her to a banquet in his private
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Holofernes struggles in vain to press against Abra as the two women force him down with distinctly strong arms. Their sleeves are rolled up, as though they are performing an unavoidable domestic chore, and their faces express a staunch resolve. Judith drives the sword, which is noticeably vertical
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Judith is a figure that has been both embraced and rejected by the
Catholic and Protestant denominations through time. Indeed, depending on the potential use of Judith within a Christian narrative, she is either a symbol of purity or temptation. But during the Catholic Reformation Judith remained
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Holofernes drank himself into a stupor on the night of the banquet while celebrating his perceived victory. Judith, who he had hoped to bed, used this as her opportunity to finish her task. With his sword, she beheads
Holofernes in two fell blows. Judith and Abra then return to Bethulia with the
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This similarity in theme and composition may have been due to the work of
Michelangelo Merisi da Caravaggio, whose style so influenced the Gentileschi's. His famous depiction of Judith Beheading Holofernes from the late 16th century focused more on the conflict than previously
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In the late 1700s, a Grand
Duchess disapproved of the gruesome depiction of a usually timid scene, and had the painting moved to an isolated part of the Uffizi. There it remained until the 20th century, when this painting, including many others, was damaged in the 1993
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219:. In response, the Council of Trent reaffirmed the importance of the visual arts for the Catholic faith. Baroque art served as an extension of the influence of the Catholic Church, most often depicting historical and religious imagery through heightened realism.
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272:. Following its restoration, the painting was once again placed in a largely peripheral location within the gallery. Now, Gentileschi's most prominent piece shares space with other great Baroque artists, including Caravaggio.
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painter Orazio
Gentileschi and Prudentia Montone Gentileschi. Orazio took notice of Artemisia's potential as a painter at an early age and helped to cultivate it. By 1610 she had successfully produced
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c. 1612, there are subtle but marked improvements to the composition and detailed elements of the work. These differences display the skill of a cultivated
Baroque painter, with the adept use of
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264:. The painting would ultimately be included in a larger collection of artworks at the Pitti Palace which portrayed biblical heroines. Gentileschi received 50 scudi as payment for her work.
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Gentileschi was one of many artists who used Judith as a prominent and recurring subject throughout the
Baroque period. In fact, Orazio Gentileschi, Artemisia Gentileschi's father, painted
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who was responsible for art patronage at the Medici court. Presumably, Cosimo had seen the original Naples Judith and requested a variation to be made for his wife,
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and Elena Ciletti push back against this perspective, arguing instead that the near-constant mention of her assault only succeeds in limiting Gentileschi's image.
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This history is relevant as Gentileschi's early life has come to inform the perspectives of many contemporary feminist art historians, including
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c. 1610. Both artists assign the scene with a sense of urgency by choosing moments within the story that are filled with tension.
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of chiaroscuro, or the drastic contrast between light and dark, both literally and figuratively.
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452:"Judith Beheading Holofernes by Artemisia Gentileschi | Artworks | Uffizi Galleries"
195:(also known as the Counter-Reformation) in the 17th century. This was a period when
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to express the violent tension between Judith, Abra, and the dying Holofernes.
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most often a symbol of divine virtue to contrast the heretical Holofernes.
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severed head of the general in a sack, effectively ending the conflict.
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548:. New Jersey: Princeton University Press. pp. 278–336, 416–462.
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text that follows the triumph of Judith, a Jewish widow from
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was rapidly gaining ground in Europe, as an alternative to
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Artemisia Gentileschi and Feminism in Early Modern Europe
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Portrait of a Lady, dressed in a gold embroidered costume
667:"Women Who Ruled - Queens, Goddesses, Amazons 1500-1650"
620:. London, UK: Reaktion Books. pp. 21–22, 127–159.
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Judith and her Maidservant with the Head of Holofernes
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Judith and Her Maidservant with the Head of Holofernes
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112:. When compared to her earlier interpretation from
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714:Lucas, Peter (1992). "Judith and the Woman Hero".
476:"Gentileschi, Judith Slaying Holofernes (article)"
803:"Judith and Holofernes by Artemisia Gentileschi"
1202:Saint Januarius in the Amphitheatre at Pozzuoli
580:. The University of Chicago Press. p. 65.
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945:Self-Portrait as Saint Catherine of Alexandria
351:Self-Portrait as Saint Catherine of Alexandria
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645:. Princeton University Press. p. 324.
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506:(2nd ed.). National Gallery Company.
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1223:Self-Portrait as the Allegory of Painting
357:Self-Portrait as the Allegory of Painting
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211:, with the guidance of figures such as
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432:List of works by Artemisia Gentileschi
256:The Uffizi Judith was commissioned by
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748:. Phaidon Press Inc. pp. 33–34.
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154:Her beauty made captive his soul,
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776:. Getty Publications. p. 56.
372:To the contrary, scholars such as
332:, and particularly in the case of
285:Artemisia Gentileschi was born in
191:Baroque art came about during the
157:The sword passed through his neck.
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744:Bailey, Gauvin Alexander (2012).
322:Museo e Real Bosco di Capodimonte
179:quarters soon after her arrival.
16:Painting by Artemisia Gentileschi
1058:Portrait of a Lady Holding a Fan
938:Self-Portrait as a Female Martyr
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1237:Christ and the Woman of Samaria
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104:depicting the assassination of
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151:Her sandal ravished his eye,
96:, is the renowned painting by
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249:Judith Beheading Holofernes
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1051:Portrait of a Gonfaloniere
923:Judith and her Maidservant
416:, c. 1625, oil on canvas.
413:Judith and her Maidservant
394:, c. 1618, oil on canvas.
391:Judith and her Maidservant
1216:Saints Proculus and Nicea
1028:Judith Slaying Holofernes
959:Mary Magdalene in Ecstasy
418:Detroit Institute of Arts
398:, Palazzo Pitti, Florence
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316:Judith Slaying Holofernes
167:The Book of Judith is an
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22:Judith Slaying Holofernes
502:Treves, Letizia (2020).
187:The Catholic Reformation
1402:Paintings in the Uffizi
1109:Esther Before Ahasuerus
916:Allegory of Inclination
772:Barker, Sheila (2022).
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616:Garrard, Mary (2020).
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296:Susanna and the Elders
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1407:Paintings about death
1209:Adoration of the Magi
1179:Lot and His Daughters
1165:Clio, Muse of History
1150:Corisca and the Satyr
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102:Artemisia Gentileschi
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1262:(private collection)
1021:Allegory of Painting
193:Catholic Reformation
162:Book of Judith, 16:9
108:from the apocryphal
88:c. 1620, now at the
1412:Paintings of Judith
691:"Judith: Apocrypha"
578:The Artemisia Files
576:Bal, Mieke (2005).
1370:Orazio Gentileschi
1087:Penitent Magdalene
746:Baroque and Rococo
730:– via JSTOR.
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255:
252:, c. 1598-99
247:
237:
232:
230:
221:
190:
181:
177:
166:
156:
153:
150:
135:
131:
84:
83:
82:
1366:(1997 film)
213:John Calvin
201:Catholicism
128:Description
118:chiaroscuro
1386:Categories
1189:(Columbus)
1046:(Stamford)
1031:(Florence)
926:(Florence)
812:2023-05-11
700:2023-03-28
676:2023-03-29
652:0691040508
587:0226035816
555:0691040508
485:2023-03-28
461:2023-03-28
438:References
362:Caravaggio
169:apocryphal
106:Holofernes
60:Dimensions
1363:Artemisia
1331:(Bologna)
1289:(Potsdam)
1194:Cleopatra
1186:Bathsheba
1097:(Detroit)
995:(Ferrara)
992:Cleopatra
984:Cleopatra
862:Paintings
722:: 17–27.
504:Artemisia
366:Rembrandt
291:Mannerist
1372:(father)
1305:(Cannes)
1297:(Naples)
1286:Lucretia
1254:(London)
1145:(Naples)
1116:Lucretia
1065:Lucretia
897:(Naples)
426:See also
320:c 1612,
209:idolatry
173:Bethulia
160:—
94:Florence
76:Florence
68:Location
1350:Related
1068:(Milan)
987:(Milan)
227:History
141:Subject
122:realism
100:artist
98:Baroque
47:c. 1620
1281:(Brno)
1197:(Rome)
1160:(Rome)
1124:Aurora
889:(Rome)
780:
752:
649:
624:
584:
552:
510:
341:Judith
281:Artist
114:Naples
72:Uffizi
52:Medium
36:Artist
1320:1650s
1270:1640s
1134:1630s
1080:Medea
976:1620s
902:Danaë
870:1610s
420:, USA
239:seen.
778:ISBN
750:ISBN
647:ISBN
622:ISBN
582:ISBN
550:ISBN
508:ISBN
364:and
287:Rome
215:and
120:and
44:Year
724:doi
92:in
1388::
805:.
792:^
764:^
736:^
720:22
718:.
693:.
669:.
596:^
564:^
522:^
494:^
478:.
454:.
368:.
336:.
313:,
74:,
846:e
839:t
832:v
815:.
786:.
758:.
726::
703:.
679:.
655:.
630:.
590:.
558:.
516:.
488:.
464:.
318:,
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