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241:(c. 1505): "Giorgione shows the heroic instance, the triumph of victory by Judith stepping on Holofernes's severed, decaying head. But the emblem of Virtue is flawed, for the one bare leg appearing through a special slit in the dress evokes eroticism, indicates ambiguity and is thus a first allusion to Judith's future reversals from Mary to Eve, from warrior to
1637:
409:) "proclaim her rhetorical appropriation by the Catholic or Counter-Reformation Church against the 'heresies' of Protestantism. Judith saved her people by vanquishing an adversary she described as not just one heathen but 'all unbelievers' (Jdt 13:27); she thus stood as an ideal agent of anti-heretical propaganda."
141:
in the late first century (1 Clement 55), and thus images of Judith were as acceptable as those of other scriptural women. In early
Christianity, however, images of Judith were far from sexual or violent: she was usually depicted as "a type of the praying Virgin or the church or as a figure who
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483:
has "the deliverer of her people" standing naked and holding a sword besides the couch on which
Holofernes, half-covered by blue sheets—where the text portrays her as god-fearing and chaste, "Franz von Stuck's Judith becomes, in dazzling nudity, the epitome of depraved seduction."
384:
While many of the above paintings resulted from private patronage, important paintings and cycles were made also by church commission and were made to promote a new allegorical reading of the story—that Judith defeats
Protestant heresy. This is the period of the
223:, showed a more sexualized Judith, a "seducer-assassin": "the very clothes that had been introduced into the iconography to stress her chastity become sexually charged as she exposes the gory head to the shocked but fascinated viewer", in the words of art critic
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472:(1909) is "less erotic and more frightening". The two "suggest 'a crisis of the male ego', fears and violent fantasies all entangled with an eroticized death, which women and sexuality aroused in at least some men around the turn of the century."
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made a series of five paintings tracing the narrative and giving it a conventional, nineteenth-century ending; the final painting shows her "in her honoured old age", and "we shall see her sitting in her house spinning".
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Artists have mainly chosen one of two possible scenes (with or without the servant): the decapitation, with
Holofernes supine on the bed, or the heroine holding or carrying the head, often assisted by her maid.
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tramples Satan and harrows Hell," that is, in a way that betrayed no sexual ambivalence: "the figure of Judith herself remained unmoved and unreal, separated from real sexual images and thus protected."
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that "casts Stalin in the
Holofernes role, conquered by a young Russian girl who contemplates his severed head with a mixture of curiosity and satisfaction". In 1999, American artist
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period, but around 1600, images of Judith began to take on a more violent character, "and Judith became a threatening character to artist and viewer." Italian painters including
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105:. For many artists and scholars, Judith's sexualized femininity sometimes contradictorily combined with her masculine aggression. Judith was one of the virtuous women whom
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189:. Early Renaissance images of Judith tend to depict her as fully dressed and desexualized; besides Donatello's sculpture, this is the Judith seen in
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Judith, im apokryphen Text noch gottesfürchtig und keusch, wird bei Franz von Stuck in blendender
Nacktheit zum Inbegriff lasterhafter Verführung.
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The allegorical and exciting nature of the Judith and
Holofernes scene continues to inspire artists. In the late nineteenth century,
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In
European art, Judith is very often accompanied by her maid at her shoulder, which helps to distinguish her from
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In the late
Renaissance, Judith changed considerably, a change described as a "fall from grace"—from an image of
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of 1612; like
Caravaggio, she chooses to show the actual moment of the killing. A different composition in the
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by Judith; his head is taken away in a basket (often depicted as being carried by an elderly female servant).
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mentioned in his published apology (1639) for the superiority of women to men, and a common example of the
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97:(plate). However, a Northern tradition developed whereby Judith had both a maid and a charger, taken by
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Sarah Henrich, "Living on the Outside of Your Skin: Gustav Klimt and Tina Blondell Show Us Judith", in
361:: Holofernes' head is a portrait of the artist, Judith is his ex-mistress, and the maid her mother. In
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Dressing Up for War: Transformations of Gender and Genre in the Discourse and Literature of War
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When Rubens began commissioning reproductive prints of his work, the first was an engraving by
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Modern paintings of the scene often cast Judith nude, as was signalled already by Klimt.
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The Artemisia Files: Artemisia Gentileschi for Feminists and Other Thinking People
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Department of Image Collections, National Gallery of Art Library, Washington, DC
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462:. The story was quite popular with Klimt and his contemporaries, and he painted
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periods. In the story, Judith, a beautiful widow, is able to enter the tent of
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Public and Private Spaces: Works of Art in Seventeenth-Century Dutch Houses
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Studies in iconology : humanistic themes in the art of the Renaissance
245:." Other Italian painters of the Renaissance who painted the theme include
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Visual Theology: Forming and Transforming the Community Through the Arts
1183:"The Metamorphoses of Judith in Literature and Art: War by Other Means"
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In 1983, Russian artists Vitaliy Komar and Alexander Melamed painted a
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in Florence shows a more traditional scene with the head in a basket.
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Sacred Spring: God and the Birth of Modernism in Fin de Siècle Vienna
1212:"Judith with the Head of Holofernes, Lucas Cranach the Elder (c1530)"
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Judith with the Head of Holophernes, by Hans Baldung Grien, c. 1525,
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Schneider, Laurie (1976). "Some Neoplatonic Elements in Donatello's
1326:"Judith Imagery as Catholic Orthodoxy in Counter-Reformation Italy"
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The Art of Italy in the Royal Collection; Renaissance and Baroque
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54:, and is the subject of many paintings and sculptures from the
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engraved three compositions of the subject, and other of the "
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in 1901, as a dreamy and sensual woman with open shirt. His
70:
general who was about to destroy Judith's home, the city of
371:(Naples), she demonstrates her knowledge of the Caravaggio
1378:. Washington: National Gallery of Art/The Feminist Press.
1330:
The Sword of Judith: Judith Studies Across the Disciplines
1297:"Judging Artemisia: A Baroque Woman in Modern Art History"
268:, Judith was the subject of a disproportionate number of
420:(1606–1610). Other prints were made by such artists as
260:
Especially in Germany an interest developed in female "
808:
Judith and Her Maidservant with the Head of Holofernes
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to a more sexual and aggressive woman, is signaled in
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as an example of the knowledge needed in the study of
1485:"Salome fordert den Kopf. Kunstbuch: Joachims Nagels
207:(1495, with a detached head), and in the corner of
339:depicted Judith and Holofernes; and in the north,
66:because of his desire for her. Holofernes was an
1376:Eva/Ave; Women in Renaissance and Baroque Prints
227:. This transition, from a desexualized image of
215:(1508–1512). Later Renaissance artists, notably
351:used the story. The influential composition by
219:, who with his workshop painted at least eight
1608:Jensen, Robin M.; Kimberly J. Vrudny (2009).
458:Two notable paintings of Judith were made by
8:
1586:"I'll Make You Shorter by a Head (Judith I)"
1085:. New York: Harper and Row. pp. 12–14.
74:. Overcome with drink, he passes out and is
1524:Art Blart _ art and cultural memory archive
714:Judith carrying away the head of Holofernes
503:, and part of a series of paintings called
416:, done "somewhat clumsily", of his violent
1518:Bunyan, Author Dr Marcus (April 6, 2023).
1242:, about 1678, Eglon Hendrik van der Neer"
1270:Whitaker, Lucy; Clayton, Martin (2007).
1176:
1174:
1048:, 18th century, engraving with etching,
1520:"Franz Von Stuck Judith and Holofernes"
1483:Schumann-Bacia, Eva (8 December 2009).
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1117:
1115:
1073:
865:Judith Presenting Herself to Holofernes
514:
1539:
1529:
1456:"Fortune in Pictures at Art Institute"
1189:. Amsterdam: Rodopi. pp. 111–26.
1130:The Jewish Novel in the Ancient World
1011:, Judith with the Head of Holophernes
544:Giorgo Vasari - Judith and Holofernes
7:
1612:. Liturgical Press. pp. 13–27.
1363:. C. Scribner & Co. p. 135.
1105:Loughman & J.M. Montias (1999),
495:rendered Judith in watercolour; her
1487:Femme fatale – Faszinierende Frauen
16:Biblical episode and artistic theme
1464:. 12 February 1928. pp. VII.2
1303:. U of Chicago P. pp. 33–62.
1042:Toinette Larcher after Giorgione,
1024:Judith with the Head of Holofernes
846:Judith with the Head of Holofernes
749:Judith with the Head of Holofernes
732:Stained glass window, c. 1510–1530
499:is explicitly inspired by Klimt's
159:Judith with the Head of Holofernes
14:
1559:"Works Invoking Christian Ritual"
1557:Harrison, Helen A. (1997-06-22).
1274:. Royal Collection. p. 270.
1124:Wills, Lawrence Mitchell (1995).
827:Judith and the head of Holofernes
789:Judith and the Head of Holofernes
296:also made prints of the subject.
170:, the famous bronze sculpture by
133:as canonical and accepted in the
45:beheading of Holofernes by Judith
1635:
1185:. In Andrew Monnickendam (ed.).
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195:The Return of Judith to Bethulia
121:Background in early Christianity
497:I'll Make You Shorter by a Head
389:, and many images (including a
323:Judith remained popular in the
1588:. Minneapolis Institute of Art
1584:Minneapolis Institute of Art.
1428:Whalen, Robert Weldon (2007).
1210:Jones, Jonathan (2004-01-10).
358:David with the Head of Goliath
1:
1401:"Some Modern French Painters"
924:Julius Schnorr von Carolsfeld
129:in the Bible was accepted by
1399:Child, Theodore (May 1890).
869:Minneapolis Institute of Art
1357:Duplessis, Georges (1886).
1328:. In Kevin R. Brine (ed.).
769:Judith Beheading Holofernes
659:Germanisches Nationalmuseum
445:Staatliches Museum Schwerin
309:Judith beheading Holofernes
185:she turns into a figure of
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1374:Russell, H. Diane (1990).
524:12th-century French ivory
113:iconographic theme in the
18:
1295:Salomon, Nanette (2006).
418:Judith Slaying Holofernes
414:Cornelius Galle the Elder
374:Judith Slaying Holofernes
368:Judith Slaying Holofernes
317:Warsaw University Library
32:Judith slaying Holofernes
1434:. Eerdmans. p. 81.
1360:The Wonders of Engraving
1336:. Cambridge: Open Book.
1246:National Gallery, London
1081:Panofsky, Erwin (1939).
489:Judith on the Red Square
313:Cornelis Galle the Elder
272:, sometimes shown nude.
1324:Ciletti, Elena (2010).
1181:Peters, Renate (2001).
1028:Lucas Cranach the Elder
217:Lucas Cranach the Elder
137:and was referred to by
1299:. In Mieke Bal (ed.).
1164:Gazette des Beaux-Arts
1132:. Ithaca: Cornell UP.
447:
320:
162:
146:Renaissance depictions
40:
1663:Christian iconography
1642:Judith and Holofernes
1461:The Milwaukee Journal
1159:Judith and Holofernes
889:Judith and Holofernes
842:Antiveduto Grammatica
804:Artemisia Gentileschi
620:illustration for the
602:Judith and Holofernes
562:Judith and Holofernes
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363:Artemisia Gentileschi
307:
204:Judith and Holofernes
167:Judith and Holofernes
153:
37:Artemisia Gentileschi
29:
21:Judith and Holofernes
1644:at Wikimedia Commons
623:Nuremberg Chronicles
280:" did several more.
115:Northern Renaissance
19:For other uses, see
387:Counter-Reformation
337:Bartolomeo Manfredi
288:(after a design by
89:, who also carries
43:The account of the
1564:The New York Times
1542:has generic name (
1126:"The Judith Novel"
452:Jean-Charles Cazin
448:
349:Eglon van der Neer
321:
300:Baroque depictions
282:Jacopo de' Barberi
163:
41:
1640:Media related to
1619:978-0-8146-5399-9
1441:978-0-8028-3216-0
1409:. pp. 817–42
1406:Harper's Magazine
1385:978-0-89468-157-8
1343:978-1-906924-17-1
1334:Henrike Lähnemann
1332:. Elena Ciletti,
1310:978-0-226-03582-6
1281:978-1-902163-29-1
1196:978-90-420-1367-4
1139:978-0-8014-3075-6
785:Giovanni Baglione
676:engraving of 1547
578:Sandro Botticelli
428:Modern depictions
353:Cristofano Allori
345:Peter Paul Rubens
270:old master prints
191:Sandro Botticelli
178:against tyranny.
155:Cristofano Allori
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225:Jonathan Jones
213:Sistine Chapel
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643:Conrad Meit
528:, found in
103:iconography
76:decapitated
56:Renaissance
1652:Categories
1570:2009-09-09
1500:7 December
1468:7 December
1413:2009-09-09
1256:2009-09-09
1223:2009-09-09
1069:References
939:Paul Steck
764:Caravaggio
641:figure by
329:Caravaggio
247:Botticelli
64:Holofernes
1592:14 August
978:Judith II
945:(c. 1900)
892:(1819–23)
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716:, in the
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639:Alabaster
565:, 1457–64
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233:Giorgione
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1532:cite web
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1109:, p. 81.
1057:See also
960:Judith I
501:Judith I
479:'s 1926
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443:(1926),
266:Lucretia
262:worthies
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161:(1613)
131:Jerome
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1614:ISBN
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1544:help
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1436:ISBN
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