Judith Beheading Holofernes
The Uffizi Judith Slaying Holofernes is Artemisia’s second telling of this narrative. The first, executed in Rome c. 1611-12 and now in the Capodimonte Museum in Naples (below, left), introduced the dynamic composition centered on the thrust and counter thrust of extended limbs.
Judith Beheading Holofernes, 1599 by Caravaggio Courtesy of www.Caravaggio.org Judith Beheading Holofernes tells the story Biblical story of Judith, who saved her people by seducing and beheading the Assyrian general Holofernes, which was a common theme in the 16th century.
His Judith is an expression of an allegorical-moral contest in which Virtue overcomes Evil. In contrast to the elegant and distant beauty of the vexed Judith, the ferocity of the scene is concentrated in the inhuman scream and the body spasm of the giant Holofernes.
Rediscovered by feminist art historians in the past few decades, Gentileschi has inspired a spate of books, both scholarly and popular, and a number of films. But it is the sensational painting Judith Slaying Holofernes (c. 1620) that epitomizes her career. The Art Institute of Chicago, in collaboration with the Foundation for Italian Art and Culture (FIAC), is …
Oct 12, 2012 · Caravaggio’s mastery of art in Judith Beheading Holofernes distracts, somewhat, from the weirdness of the painting. Dressed as a well-born Renaissance young lady, Judith, standing at a safe distance, does the deed which made her famous. As for the brutal Assyrian general Holofernes, he is caught completely off-guard.
Judith was a Jewish widow of noble rank in Bethulia, a town besieged by the army of the Assyrian general Holofernes. She approached his tent as an emissary and captivated him with her beauty. He ordered a feast with much wine.