Final Paper Judith Slaying Holofernes by Artemisia Gentileschi is a work from the baroque era of art. The work was painted in 1611 by a female Italian painter (Hickson). Gentileschi’s work shows two women, and man. The man is being held down by one of the women, while the other is thrusting a knife in his throat. It is a violent piece, that depicts a biblical story in a dramatic way. Gentileschi is able to clearly define the period style in the work, while also showing the cultural changes in the ideas of gender equality. The period style of the early seventeenth century was also known as the Baroque period (Nygren lecture). Baroque art emphasized the dramatic elements of the idea that was being presented (Nygren lecture). In addition, …show more content…
The story shows a Jewish woman killing Holofernes, the general of an invading army, to save her people (Branch). This story would have been well known by the people of the time, as many biblical stories were (Nygren lecture). The event is clearly depicted in a dramatic, and violent manner. When first viewed, the eye is drawn to the knife which Judith has put into the throat of Holofernes. The blood of Holofernes can be seen pouring down the sheets of the bed. There is a sense of movement that can be seen. Judith is killing Holofernes; the second woman is holding him down. Holofernes is struggling as implied by his hand pushing back the second woman. Judith is holding his head in a manner that as she thrusts the knife in his throat. These things imply movement in the work, and invoke a sense of drama. Since this is a baroque work the diagonals also help to show the movement within it (Nygren lecture). Both of Judith’s hands create a diagonal that leads us to the center of the painting. The center is where one can see the action that Judith is committing. The arms of the second woman; who is holding Holofernes down, also lead the viewer’s eye towards the …show more content…
All of these diagonals direct the viewers’ attention towards the knife and Holofernes’s throat. The sense of movement, and drama are clearly indicative of the baroque period (Nygren lecture). Lighting can also be used to create a sense of drama (Nygren lecture). The lighting in the work is only towards the main subjects of the work. Whereas the background is dark, almost as if there is only a small amount of light on the subject. The lighting helps to put the work into context since in the story the murder occurs at night (Branch). It also helps to direct the viewers eyes to the scene that is occurring in front of them. These characteristics help to define the work as clearly Baroque. The work can also however be an early Romantic work. Romanticism focused on the dark in order to evoke emotion from the viewer (Nygren lecture). This work has some clear elements of the romantic as well. There are many parts of it that invoke emotion from the viewer. The shadows and lighting help to give the viewer a sense of emotion from the work. Holofernes’s hand pushing back against the woman also adds to the sense of emotion. There is a clear
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.
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
The type of shots has an important role in the understanding of Joan’s victimization. Medium close-ups and close-ups are used through out the film, creating a scary intimacy between Joan and the judges. In The Passion of Joan of Arc, Dreyer uses close-ups to show that Joan is struggling against forces much larger than herself. “Dreyer uses strange and distorted medium shots, emphasizing the aesthetic tension between a frightened and disoriented Joan, and of her cruel and mocking tormentors. ” This distortion creates pity and fear in the viewer. Also, the close-ups make us fully focus on the story and Joan’s emotion since the set, props or anything else that could appear in a long shot cannot distract the viewer. In addition, Dreyer shot torture instruments with a close-up. By giving us the chance to see the instruments closely, we become fearful and feel sympathy for Joan. Again, this emphasise, the clergy’s
All in all, Martin breaks down the Baroque into eight key characteristics. Through the study of these characteristics, the viewer is able to further understand the purpose of the piece. Martin, however, points out that these characteristics are not bound in gold as the rules of the Baroque. Rather, these are a general guideline which should be used lightly in order to receive a better understanding of the time. In the end, as a reader, one does receive a well rounded flavor of the different emotions and senses of the Baroque.
Classicism of the Renaissance has been replenished during the Baroque period. During the Baroque artistic period, the exploration of the fundamental components of human nature and the realm of senses and emotions were very crucial. The Baroque era was a very dynamic time that showed an abundance of radiance and color. Artists of this time are passionate and sensual. Their works were many times considered to have an overpowering emotional effect.
The baroque and renaissance periods are two different periods. The renaissance period rolled into the baroque era. There were changes made over the years from the baroque to the renaissance period. Differences in style accumulated along with views of art and music.
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...
As the seventeenth century began the Catholic Church was having a hard time bringing back the people who were swept away by the protestant reformation. The conflict between the protestant had a big influence on art. (Baroque Art) The church decided to appeal to the human emotion and feeling. They did so by introducing a style called Baroque. Baroque was first developed in Rome and it was dedicated to furthering the aims of Counter Reformation. Baroque was first used in Italy than later spread to the north. In this paper I will argue that the Italian Baroque pieces were more detailed and captured the personality of the figure, in contrast and comparison to Northern Baroque pieces that aimed to produce a sense of excitement and to move viewers in an emotional sense leaving them in awe. I will prove this by talking about the different artwork and pieces of Italian Baroque art versus Northern Baroque Art.
The only exception to this color scheme is the woman, who is cloaked in more heavenly whites and gold tones. Some believe the painting to be a piece of romantic retaliation, focusing on the girl laying on the bed who may have been an object of the artist’s unreturned attention. While traveling through Europe, Fuseli met and fell madly in love with Anna Landholdt. Anna’s father refused Fuseli’s marriage proposal and quickly pledged her to another. Many theorists believe Anna is the woman in this painting and the demonic figure sitting atop her chest is Fuseli’s image of himself (Independent.co.uk).
During the late sixteenth century a new style of art, known as Mannerist, emerged through out Italy as a result of the Protestant Reformation. Mannerist distorted art was justified because it served mid way between the ideal, natural, symmetrical and the real, artificial, and unbalanced. The religious and political upheaval lead to the distinct Mannerist style know for being stylish, cultured, and elegant. Mannerist art is thought provoking, asking the viewer to ponder and respond to the spatial challenges and meaning found in the painting, sculpture, and architectural work. Mannerist painting and sculpture are characterized by complicated compositions, distorted figure styles, and complex allegorical interpretations. Meanwhile Mannerist architecture often employs classical elements in a new and unusual way that defies traditional formulas.
The baroque period was during the 1600’s that started in Rome, before spreading quickly throughout Europe. It can be considered a time where a new Art movement flourished as people were expressing themselves in the most creative ways possible. Baroque comes from the Portuguese word Barroco, which means something irregular or strange. At this time, art was being changed. Most of the art of this period is complex, to the point that it evoked feelings towards the “audience”, usually in dramatic ways. Baroque Art wasn’t meant to depict the life style of people at that time, however it is usually noticeable that most of the art have some ties with the catholic religion. While Baroque art is almost its own style, one can compare it to the styles of Renaissance and Neoclassicism. In terms of music, it is believed that Baroque brought about new music styles, including Cantatas, Operas, Canons and Concertos. It is said that the Baroque period end...
Baroque art can be described as a “distinctive new style” in which artists embraced “dynamism, theatricality, and elaborate ornamentation, all used to spectacular effect, often on a grandiose scale”. Baroque art encompasses a vast range of art from the dramatic and theatrical Italian pieces, as the quote suggests, to the more simple and every-day life but still fabulous Dutch pieces. Baroque art can hardly be contained in one description because it describes so many types of art, in great part due to the religious, socio-economic, and political scenes of the time. Religiously, the Catholic Church was responding to the Reformation by creating dramatic pieces to invoke piety and devotion. Politically, monarchies and rulers were using commissioned art to emphasize their authority and their given right to rule. Socio-economically, the middle class was rising and therefore wanting to buy and commission pieces of art to boost their reputation and validate their status in the social scene. These three changes were extremely significant but can by no means generalize the entire historical context of Baroque art. Instead, they stand as specific examples of important reasons for the range and breadth of Baroque art.
The earlier period between the two, the Baroque era, took place roughly during the seventeenth century and lasted into the early eighteenth century. Characteristically, the Baroque period with respect to its style is widely known for its typical shape being more complex than compared to earlier times. A Baroque era building may have a shape that more so represents an oval or an ellipse, compared to the square, circle, or cross depicted in the Renaissance era, for example. (Visual-Arts-Cork.com, 2014) It is also known for being built more on a grandiose and dramatic appearance. Another characteristic that is known about the Baroque era buildings is that the planners of that era tended to build entire cities to fit a sort of preset arrangement around its most magnificent or important buildings and structures. The builders and architects would have the tendency to place grand parks and gardens around important city focal points. It really was a modern day equivalent of city or town planning. (Visual-Arts-Cork.com, 2014)
The Baroque era was the age of magic. Flat surfaces became three-dimensional and paint on plaster became alive. It was the age of masterful illusion. Nothing exhibits this mastery better than Baroque ceiling paintings.