Gentileschi’s painting Judith Beheading Holofernes is no exception. As such a violent scene, the painting is a shock to look at, but so incredible it is almost impossible to look away. Gentileschi’s painting is incredibly vibrant and realistic. Artemisia Gentileschi’s Judith Slaying Holofernes is an oil on canvas painting done between 1614 and 1620. The painting is an interpretation of the story of Judith and Holofernes from the Bible’s Book of Judith. In the story Holofernes is the general of the
Introduction Two years ago I went to an exhibition in Milan titled: “Artemisia: storia di una passione” (“Artemisia: history of a passion”). The exhibition was sponsored by the Assessorato alla Cultura of the Comune of Milano and curated by Roberto Contini and Francesco Solinas, with the scenographic and theatrical work of Emma Dante. Artemisia Gentileschi (Rome 1593 - Naples 1652/53) was a Roman painter, daughter of the painter Orazio Gentileschi and Prudenza Montone (who died when Artemisia was
For this writing assignment we had to choose 2 different paintings form either different regions and different time periods, I choose “The Birth of Venus” by Sandro Botticelli and “Judith Beheading Holofernes” by Michelangelo Caravaggio. Both of the artists lived similar yet very different lives which influenced their works greatly. Sandro Botticelli the artist behind “The Birth of Venus” was an Italian painter of the early Renaissance born in Florence during the mid 1400s, about 1450. Botticelli
pretty, almost ethereal, young girl, as Judith. On the left, the twisted body of Holofernes, his agonizing silent scream, his eyes begging for mercy, pose him as a sacral victim. Even the bed has a role
Another topic mentioned by Susan Vreeland in the story was Gentileschi’s paintings of Judith, a Jewish woman who beheaded the Assyrian general Holofernes because his army had destroyed her city. In the novel, Artemisia initially painted the heroine beheading the general in 1612 after she heard that Agostino was planning on murdering his wife to marry her (Vreeland 27). Then while in Florence, she painted the scene again in 1615, following her admission into the Accademia, as a gift to Cosimo de
Baroque oil painting on canvas, Judith Beheading Holofernes, is distinguishable through the characteristics of appearing painterly, recessional, having an open arrangement, containing variety and appearing vibrant and clear. Specifically, Caravaggio’s painting has a smooth blend from highlights to shadows and the forms lack outlines contributing to the painterly characteristic. Also, the manipulation of multiple diagonals, such as the placement of Holofernes, Judith and her companion, the characters
deuterocanonical book of Judith. It depicts how the Jews were under siege and how Judith snuck into Holofernes’s tent and emerged the next day with his decapitated head. Judith’s heroic story has captured the imaginations of many artists. Using different techniques and taking various artistic liberties, those who illustrated this story in the past have implemented their own interpretation of the narrative and, in some cases, inserted a personal subtext as well. Judith Decapitating Holofernes by Trophime
Julie Chavez Art 102 Monday 6 - 9pm 05/11/18 Judith Slaying Holofernes Artemisia Gentileschi learned from her father, Orazio whom was inspired by Caravaggio. Gentileschi paintings spread Caravaggio’s style around the peninsula, one of Gentileschi’s painting that dramatically affected society was Judith Slaying Holofernes. This painting can be found in Gardner’s Art through the Ages, Volume II, pg 571. Judith Slaying Holofernes was painted oil on canvas during the Baroque art period and
the story of Judith beading Holofernes. The story of Judith comes from the deuterocanonical book of Judith in found in the Catholic and Orthodox Christian Old Testament in the Bible. The fable derives
Judith and her Handmaid This paper will be on the painting Judith and her Handmaid with the Head of Holofernes (Detroit Institute of Art). Painted by Artemisia Gentileschi in 1625, the painting depicts the story of Judith, who beheads Holofernes while he is passed out because he is about to destroy her home. Gentileschi paints Judith and her handmaiden in the moment after the beheading, stashing Holoferne’s head in a sack. I selected this work because of Gentileschi being a popular female artist
helping to create along with other artists, this new era for women. In Northern Italy before works like Artemisia’s, it was common for art to be of Virgin Mary or some other idealized women figure. After paintings like Artemisia’s Judith Slaying the head of Holofernes, women were portrayed as more violent and emotionally involved. The Passion of Artemisia by Susan Vreeland is a novel that illuminates mediation on the nature of art. This book richly displayed the life of Artemisia, one of the first
Gentileschi identified with Judith, the protagonist of the painting. The book of Judith, a 2nd century text, is a religious story in which Judith defeats the Assyrians, a mighty empire (Branch). The start of this violence, as seen in Judith Slaying Holofernes, was caused when the leader of the Assyrians, Nebuchadnezzar , sent his general Holofernes to attack the Jews held in Bethulia (Judith 7:7, 4:7). Holofernes cut off the city’s water supplies and limited the food supply of the people. This act
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
In Judith Slaying Holofernes, Gentileschi portrays a multitude of different elements and ideas. The painting depicts a woman decapitating a man who is laying in a bed. The picture conveys themes attributed to intense violence due to the position of the women, helplessness is portrayed in Holofernes because of the blood and his body’s position, and hints of feminism are expressed due to the strong female character. The oil medium creates a saturated and vibrant picture. Judith is positioned in a very
Artemisia Gentileschi was not an artist only intent on giving visual expression to her personal experiences and feelings, but a businesswoman trying to please her patrons and thus be successful in her field. Works Cited Garrard, Mary D. "Chapter 5-Judith." Artemisia Gentileschi. New York, NY: Rizzoli International Publications, 1993. 311. Print. Getlein, Mark. "Chapter 17-The 17th and 18th Centuries." Living with Art. 9th ed. Boston, MA: McGraw Hill, 2008. 384-406. Print.
Caravaggio’s work was “largely based on relative naturalism and [the] extensive use of dark shadows, [which] would be seen today as a rather rude characterisation of […] sixteenth-century Venetian painting[s]” (Kieth 1998: 37). “The lit and shadowed areas are very light and very dark and […] in an unnatural fashion neither done or even considered before by such artists as Raphael, Titian, […] or others” (Christiansen 2003). Caravaggio’s unusual techniques have made him a revolutionary painter of
‘Judith Slaying Holofernes” is an oil on canvas painting painted by an Italian female artist Artemisia Gentileschi completed between 1614-20 in the last Renaissance period. It now lives at Museo Di Capodimonte in Naples, Italy. Religious Value: This is a dramatic but powerful painting which comes from “Apocryphal book of Judith” in the Old Testament of the Bible. The biblical story inspired many of her paintings.In this painting it shows Judith who is a young widow from the Jewish City of Bethulia
Judith Slaying Holofernes was painted in 1614, and was completed in 1620 which is from the late Renaissance period. This is such a dramatic painting with a powerful meaning behind it. As you can see in the painting, one of the girls, who goes by the name, Judith, is the one who is beheading the man who is Holofernes, while the other girl is helping Judith by pinning him down on the bed as she beheads him with a sword. The artwork is now in the National Museum of Capodimonte, Naples. Religious Value:
During the height of the feminist movement in 1971, feminist art historian Linda Nochlin published an essay titled “Why Have There Been No Great Women Artists?” in the magazine ArtNews. In this brief polemical essay, Nochlin elaborates upon the reasons why there have been no great female equivalents for Michelangelo or Rembrandt and explores the possibilities behind the lack of great female artists throughout the course of history of art. Unlike most feminist intellectuals in her times, she does
specialized in gruesome, dramatic paintings that masterfully employ Baroque techniques. This is one of her paintings from a series of paintings depicting the death of Assyrian General Holofernes entitled Judith Slaying Holofernes. Religious imagery was one of the main focuses of at the time, and the death of Holofernes was a popular topic to paint. Many other artists painted this scene, but none of them embodied the Baroque spirit as well. This a dramatic, gruesome painting where you can see the effort