Artemisia Gentileschi recreated the gruesome, Judith Slaying Holofernes, painting. She painted the masterpiece around 1612-1620 time period. She was an amazing Italian Baroque painter and the first women painter in the 17tth century Europe. This artwork was painted during the Florentine period. It was originally Caravaggio painting but, she revamped it and made it more dramatic and tensed . The narrative of this piece is about a heroic women who saves her town. This painting is an example of women empowerment to fight back. The painting is about a biblical story, the town of Judith was raided by General Holofernes and his army. For her to save the town, she went to the general private tent and seduced him. Once she got him drunk, she used a sword and decapitated his head. She was the hero of the town. Her …show more content…
The medium of this painting is oil on canvas. She used tenebrism ,which is a dark subject matter, to focus on the most important parts of this painting. Her arms are tensed and her face is focused on him. She has her servant aggressively holding him down while she beheads him. Her servant arms are also tensed and her faced is also focused on the general. The general head is the masterpiece and the center of attention of this painting because both of women are focused on the head and you can see bad they want his head off. Judith is holding the sword and she has his hair wrapped tightly in her hands while she is slicing his neck. All of their arms look masculine and I can see the strength of both of the women. She used very dark colors to capture the dramatic scenery such as the reddish palette and the blackish, brownish background. The painting is more dramatic when she used chiaroscuro lighting because the light shows how serious the women are and it is focused on all three of their faces and including the arms, and legs of the general and that's what make the painting so
They are durable and inexpensive comparing to canvas.The artwork shows the happy emotions and realism with his interpretation of his wife and himself. Color theme of the painting was blue and background/negative space is dark blue. His right side of face is dark blue to show the shadow of his face and distance perspective. He used the black line which is stained glass like to separate the negative space/positive space. He used dark blue green for negative space on the Masonite board. Texture of oil painting is rough and we can trace of the paint brush stroke. They give the vivid or liveliness that he was well known of. The figures are realistic and impressionism style rather than photogenic. The title of paining and sub title of paining itself tell the story of artwork. Esther looks very relaxed, content and happy. Rattner looks happy , passionate, proud of himself as well. He certainly looks overcame the grief of death of his first wife. This painting gives warm feeling even though the theme color is cool color blue because of two figures of face expressions and relaxed body
drawings, and photography. I found the painting’s depiction successfully showcased the sobering penalties of the cost in battle between French troops and Spanish civilians. Exploring the detail in the picture you can see that Goya’s utilized his technique to created a contrast of shades between light and dark that truly encapsulate the strong emotional intensity of the horrifying scenes, demonstating powerful elements with imagery . In the picture you are able to there are many aspects beginning
The colors used in the painting are dark and some parts bright illustrating a focal point being the skull in the center as well as the quill, both surrounded by darker colors in comparison.
I had never heard of the artist Artemisia Gentileschi before this introductory Art course. Of all the paintings and sculptures found within the book, it was her work that stood out and spoke to me. "Judith and Maidservant with the head of Holofernes" is a particularly rich oil painting by the Italian Gentileschi, painted circa 1625 Europe. Her large canvas measures 72 and 1/2 inches by 55 and 3/4 inches and began as a biblical story telling inspiration come to life within the oil. Located at the Detroit Institute of Arts, the painting was a gift to the institute from Art collector Mr. Leslie H. Green in 1952. Artemisia was the daughter of a painter (and caravaggio influenced) Orazio Gentileschi, she was also the wife of little known artist Pierantonio Stiattesi. Artemisia had four sons and one daughter during her marriage. A student of the Chiaroscuro technique and during a time when women were not believed capable of painting competitively and intelligently as the men of the day. Artemisia proved them wrong with stunning work and artistry over her artistic career.
Contextual Theory: This painting depicts a portrait of life during the late 1800’s. The women’s clothing and hair style represent that era. Gorgeous landscape and a leisurely moment are captured by the artist in this work of
Gentileschi’s Judith Slaying Holofernes epitomizes the style of artwork during the Italian Baroque era. By using a Catholic subject and key elements and techniques essential to baroque art such as chiaroscuro and foreshortening, she was able to create a piece that gushes drama and realism. Without the use of all of these elements the effect would be lost, but instead the piece is one that moves the viewer with its direct and gritty realism of the religious subject, evoking emotion in a way that leaves the viewer in awe.
The subject of Gentileschi's Judith and Maidservant with the Head of Holofernes uses tenebrism that makes use for the large areas of dark contrasting with the smaller bright areas of the painting. This painting is very dramatic considering multiple areas of darkness, such as the deep shadows. Judith could be holding out her hand to cover the light from her face to take a glimpse to see if anyone’s approaching them. She seems to be vigilant and she could also be stopping someone from
This painting, La Primavera by Botticelli, depicts many mythological figures. The feature of the painting is Venus, the Roman goddess of love and beauty, with Cupid floating above her head. On the far left is Mercury, another Roman god. There are a few other people who can also be found in Roman mythology. While it depicts Roman mythology, this painting was created between 1477 and 1482, during the Renaissance (Ufizzi Gallery Museum: La Primavera). The humanism movement during the Renaissance brought about the creation of many paintings of Roman and Greek ideas. Humanism in the Renaissance, as described by Strayer, was the preservation of Greek and Roman education and culture. The people of the Renaissance revived the might and classicism that
Teresa is measured to be Bernini’s most contentious and attractive monument. This sculpture was particularly notorious since a saint has never been represented in the state of sensual ecstasy, but St. Teresa labeled her involvement in an stimulating way, “ The pain was so severe that it made me utter several moans. The sweetness caused me by this intense pain is so extreme that one cannot possibly wish it to cease.” Bernini was permitted to generate such a provocative bit of the sculpture by the way St. Teresa communicated about her involvement, “The sensuality of the piece is directly inspired by St. Theresa’s own writings, in which she describes her mystical experiences in overtly erotic terms.” The expression of St. Teresa is recognized to be the greatest attractive face to be fashioned in a sculpture. It is acknowledged to be that the angle’s appearance is flawlessly proportioned and each features of the expression is seamlessly situated and designed. Bernini poises St. Teresa’s impeccable magnificence and carnal ecstasy to accomplish the essence of Baroque art. This sculpture is notorious to be very Baroque since it portrays the maximum histrionic point in the saint’s lifetime and accommodates to the conception that God also means
This piece is acrylic, oilstick, and spray paint on wood panel that is 186.1 centimeters in height and 125.1 centimeters in width. This piece features a human-like figure in the center that is mostly half red and half black. This figure has a gray head with one yellow eye and one light gray eye and above its head is a black halo. The background consists of patches of various colors such as light blue, black, dark red, light green, beige, turquoise, pink, and yellow. On the bottle left corner there is a figure drawn that looks like a fish and has a strip of mustard yellow painted through it. Also towards the bottom right of the artwork, there is some drawn on letters that almost look like words but are messily painted over with a desert sand color. This piece is my favorite because I find it aesthetically pleasing. There is a lot going on in this piece that makes looking at it genuinely interesting. The colors that Basquiat choses for the background go very well together and overall compliment the figure in the center. I like how incredibly expressive this piece is and it makes me want to buy a canvas and start painting that I desire. I also like how the human-like figure is drawn. One could see what looks like an outlined ribcage on the figure, which makes me believe that the head is actually a skull. Upon further research I learned that Basquiat was
The painting depicts two figures, the one of a woman and of a man. The dominating central figure is the one of the woman. We see her profile as she looks to the left. Her hands are crossed in a graceful manner. She has blonde hair and her figure is lit by what seems to be natur...
udith Slaying Holofernes is a Biblically inspired oil painting, sized 6' 6" X 5' 4", created by the Italian Baroque artist Artemisia Gentileschi between 1614 and 1620. Gentileschi 's composition is inspired by Michelangelo Caravaggio’s rendition of the same scene in Judith Beheading Holofernes (1598–1599). As a Caravaggisti, an artist whose work is strongly influenced by the work of Caravaggio, Gentileschi employs techniques characteristic of Caravaggio’s work using elements of art and principles of design primarily focusing on shape, motion, balance, and light to convey the emotions of brutality, strength, and animosity.
I chose “The Martyrdom of St. Matthew” as the painting that best illustrates the baroque period. The reasons surrounding my decision are clear in Caravaggio’s painting. Here Caravaggio uses the entire canvas to illustrate complexity, flow, and chiaroscuro. The painting depicts the source of lighting to be coming from the left side of the plane. The brightest light focuses directly on Matthew’s executioner who intends to strike Matthew with an old balcanic hand weapon. Caravaggio masterfully illustrates the use of lighting by casting believable shadows. As an example, the shadow of the handle on balcanic hand weapon reflects on the executioner’s left thigh and knee. Another shadow appears on the executioner’s right inner thigh. The lighting source to the left of the executioner, the executioner, St. Matthews, the boy, the 2 observer’s bottom, right, and the fainter lighting upper left of the canvas illustrates the technique of visual movement. The lighting is placed strategically, causing visual movement within the piece. For example, the illumination of the executioner’s forearm directs my attention to the angel who appears to be handing St. Matthew a palm leaf. As a result, my eyes then focuses on the body of St. Matthew, lying on the bottom of the altar, then my eyes shifts up toward the Angle’s arm. The lighting on the angel's arm contrasted with the darkness of the palm leaf forces the viewer to look at the hand to see what St. Matthew is reaching for. The boy fleeing the scene further draws in the viewer. The two adult observers at the bottom right of the painting are illuminated but not as bright as the two main characters. Next, my attention is drawn to the man lying on the bottom steps, left side of the canv...
This painting is different from David’s portrait in the sense that various social classes, the use of chiaroscuro and tenebrism, a clear display of drama and emotional expressions and specifically apportioned individuals are commonly used in Romanticism. In his painting entitled Liberty Leading the People, the overthrow of the French monarchy through civilian rebellion is characterized. This is represented by the French flag the woman is carrying and by the non-military attire the people throughout the painting are depicted wearing. In this painting, the woman represents a symbols of freedom or liberty. Compared to the other figures throughout the scene, her large stature completely dominates the picture even while she is surrounded by the deceased. Though she is a prominent figure in the painting and a direct representation of Lady Liberty, the woman is seen wearing a torn dress and no footwear to show that she herself is a common woman like those she is representing and leading. Unlike the majority of the women of the 19th century, she is wielding a weapon and participating in a revolution. Through this and the portrayal of her waving the country's flag, she is symbolized to be a symbol of revolution and a figure of the French Republic
The religious-based story behind the painting is about the time when Holofernes was sent to subdue the Jews in Bethulia, only to be seduced and beheaded by Judith in order to stop him. The heroic women later shows a bag with his severed head to the rest of the town to prove he was gone (of which Artemisia also painted). Artemisia’s portrayal of this is considered much more brutal than other depictions. For example, Caravaggio's depiction shows Judith as a dainty sort of woman that doesn’t seem to actually have the strength to decapitate Holofernes. In Artemisia’s artwork, Judith is gripping Holofernes’s hair and holding his head down in place while she drags his sword through his neck. Her handmaiden is also helping her by holding him down. I also notice both of their sleeves are rolled up, contributing to the realism of the work. Artemisia continues with the trend of putting female characters in powerful