[9] The slightly lifted head has a sense of pride, whereas her visage is languid and sensual, with parted lips in between defiance and seduction. Judith’s other hand hefts the head of Holofernes, dripping blood. The Book of Judith was accepted by Jerome as canonical and accepted in the Vulgate and was referred to by Clement of Rome in the late first century (1 Clement 55), and thus images of Judith were as acceptable as those of other scriptural women. Although Judith had typically been interpreted as the pious widow simply fulfilling a higher duty, in Judith I she is a paradigm of the femme fatale Klimt repeatedly portrayed in his work. This video is an analysis of the oil painting Judith with the Head of Holofernes. Antonio Gionima, Judith Presenting Herself to Holofernes (1720s). Judith and the Head of Holofernes (also known as Judith I, German: Judith und Holofernes) [1] is an oil painting by Gustav Klimt, painted in 1901. Bagoas closed the tent from outside and shut out the attendants from his master’s presence. $22. In 1903, author and critic Felix Salten describes Judith's expression as one "with a sultry fire in her dark glances, cruelty in the lines of her mouth, and nostrils trembling with passion. no. The tale is told in the Old Testament Book of Judith. Judith and Holofernes - Digital Remastered Edition Painting. When Klimt addressed the biblical theme of Judith, the historical course of art had already codified its main interpretation and preferred representation. The image is in the Public Domain, and tagged Christian Stories and Judith and Holophernes. Francisco Goya, Judith and Holofernes (1819–23), Simon Vouet, Judith with the Head of Holophernes, Sarah Henrich, "Living on the Outside of Your Skin: Gustav Klimt and Tina Blondell Show Us Judith", in, "The Metamorphoses of Judith in Literature and Art: War by Other Means", "Judith with the Head of Holofernes, Lucas Cranach the Elder (c1530)", "Judging Artemisia: A Baroque Woman in Modern Art History", "Salome fordert den Kopf. "[14], Modern paintings of the scene often cast Judith nude, as was signalled already by Klimt. Judith with the Head of Holofernes, n.d. She gained entry to the tent of the Assyrian general Holofernes, and when he was drunk after a banquet she seized his sword and cut off his head. Many paintings exist describing the episode in a heroic manner, especially expressing Judith's courage and virtuous nature. no. 52.253). [21][22], 12th-century French ivory gaming piece, found in Bayeux in 1838, Donatello, Judith and Holofernes, 1457–64, Sandro Botticelli, The Return of Judith to Bethulia, 1470, Andrea Mantegna, Judith and Holofernes, 1490s, Woodcut illustration for the Nuremberg Chronicles, 1493. Boldly infiltrating the Assyrian camp, Judith dined with Holofernes and, once he was drunk, beheaded him with the help of her maid, Abra. Judith's force originates from the close-up and the solidity of posture, rendered by the orthogonal projection of lines: to the body's verticality (and that of Holofernes') corresponds the horizontal parallels in the lower margin: those of the arm, the shoulders joined by the collier, and finally the hair base. In European art, Judith is very often accompanied by her maid at her shoulder, which helps to distinguish her from Salome, who also carries her victim's head on a silver charger (plate). 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."[10]. 398) and Judith and her maidservant with the head of Holofernes, Detroit Institute of Arts (inv. The subject of Judith and Holofernes plays a significant role in Artemisia’s oeuvre including the celebrating paintings of Judith and her maidservant in Palazzo Pitti, Florence (inv. The contrast between the black hair and the golden luminosity of the background enhance elegance and exaltation. After she had conquered Holofernes, she was known as a warrior in her land. The influential composition by Cristofano Allori (c. 1613 onwards), which exists in several versions, copied a conceit of Caravaggio's recent David with the Head of Goliath: Holofernes' head is a portrait of the artist, Judith is his ex-mistress, and the maid her mother. Judith and the Head of Holofernes, 1901 by Gustav Klimt Courtesy of www.Gustav-Klimt.com Judith was the biblical heroine who seduced and then decapitated General Holofernes in order to save her home city of Bethulia from destruction by the enemy, the Assyrian army. Lucas Cranach the Elder. Barthel Beham engraved three compositions of the subject, and other of the "Little Masters" did several more. In its formal qualities, the first version illustrates a heroine with the archetypal features of the bewitching and charming ladies described by symbolist artists and writers such as Wilde, Vasnetsov, Moreau, and others. Judith and the Head of Holofernes is an Art Nouveau Oil on Canvas and Gold Leaf Painting created by Gustav Klimt in 1901. His Judith II (1909) is "less erotic and more frightening". Jacopo de' Barberi, Girolamo Mocetto (after a design by Andrea Mantegna), and Parmigianino also made prints of the subject. [19], As part of his first series of portraits of women An Economy of Grace, American artist Kehinde Wiley depicts Judith as an African American woman, barefoot and wearing a gown designed by Givenchy. In the late Renaissance, Judith changed considerably, a change described as a "fall from grace"—from an image of Mary she turns into a figure of Eve. [5] The moment preceding the killing – the seduction of Nebuchadnezzar's general – seems to coalesce with the conclusive part of the story.[6]. 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. The biblical episode was also explored by Caravaggisti such as Orazio and Artemisia Gentileschi, deeply influenced by the works of the great Michelangelo Merisi. “Judith and Holofernes” continued to be portrayed a number of times by artists in the 17th century, in various styles from Classicism to Baroque. Judith was one of the virtuous women whom Van Beverwijck mentioned in his published apology (1639) for the superiority of women to men,[2] and a common example of the Power of Women iconographic theme in the Northern Renaissance. Judith remained popular in the Baroque 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. Solid military strategy, Assyrians.) "[5] Other Italian painters of the Renaissance who painted the theme include Botticelli, Titian, and Paolo Veronese. To stress and re-emphasize that the woman was actually Judith and not Salome he had his brother, Georg, make the metal frame for him with "Judith and Holofernes" engraved on it. Judith Beheading Holofernes is a painting of the biblical episode by Caravaggio, painted in c. 1598–1599 or 1602. Michelangelo, Judith carrying away the head of Holofernes, in the Sistine Chapel (1508–1512), Fede Galizia, Judith with the Head of Holofernes, 1596, Caravaggio, Judith Beheading Holofernes (c. 1598–1599), Giovanni Baglione, Judith and the Head of Holofernes (1608), Artemisia Gentileschi, Judith and Her Maidservant with the Head of Holofernes (c. 1625), Carlo Saraceni, Judith and the head of Holofernes (c. 1615), Antiveduto Grammatica, Judith with the Head of Holofernes (1620–1625). The biblical heroine Judith, a beautiful widow from the town of Bethulia (likely present-day northern West Bank), came to the rescue when General Holofernes and the Assyrian army laid siege to her city. Minneapolis Institute of Art. It lives at the Belvedere Palace and Museum, Vienna in Vienna. In the Bible, Judith showed the head of Holofernes to her people, the Israelites. "[3], Judith and Holofernes, the famous bronze sculpture by Donatello, bears the implied allegorical subtext that was inescapable in Early Renaissance Florence, that of the courage of the commune against tyranny.[4]. This impressive composition ranks among the masterpieces executed by Artemisia Gentileschi, daughter of the painter Orazio Gentileschi and a strong woman who, against all odds, established herself as a respected painter. Judith with the Head of Holophernes, by Hans Baldung Grien, c. 1525, Germanisches Nationalmuseum. The subject of the painting is the biblical Jewish heroine Judith, who bravely went to the camp of the besieging Assyrians, plied the enemy general Holofernes with drink, and cut off his head. Notwithstanding the alteration of features, one can recognise Klimt's friend (and, possibly, lover), Viennese socialite, Adele Bloch-Bauer, the subject of another two portraits respectively done in 1907 and 1912, and also painted in the Pallas Athena. "[16], In 1997, Russian artists Vitaliy Komar and Alexander Melamed painted a Judith on the Red Square 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". Judith and the Head of Holofernes (also known as Judith I) is an oil painting by Gustav Klimt created in 1901. Un Ensayo de Iconografía, Fin-de-Siècle Vienna: Politics and Culture, Gallery of works by Gustav Klimt at Zeno.org, Klimt University of Vienna Ceiling Paintings, https://en.wikipedia.org/w/index.php?title=Judith_and_the_Head_of_Holofernes&oldid=1020708139, Paintings of the Österreichische Galerie Belvedere, Short description is different from Wikidata, Articles with German-language sources (de), Creative Commons Attribution-ShareAlike License, Schorske, Carl E. "Gustav Klimt: Painting and the Crisis of the Liberal Ego" in, This page was last edited on 30 April 2021, at 16:17. Judith with the Head of Holofernes Late 15th century - early 16th century. In the story, Judith, a beautiful widow, is able to enter the tent of Holofernes because of his desire for her. [11] She revels in her power and sexuality—so much so that critics mislabeled Klimt's Judith as Salome, the title character from Oscar Wilde’s 1891 tragedy. Judith appears as God's instrument of salvation, but the violence of her action cannot be denied and is dramatically shown in Caravaggio's rendering,[2] as well as those of Gentileschi and Bigot. For this reason, both David and Judith were considered antecedents of Christ in the kind of Biblical analysis called typology, where Old Testament events bear some relation to the New Testament’s … Art critic Maurizio Calvesi explains, “Since the […] https://www.dailyartmagazine.com/best-judith-head-holofernes-paintings Judith and Her Maidservant with the Head of Holofernes, ca.1623-1625. Judith and the Head of Holofernes touched the fine line between violence and lust, like a dominant lover who has met the extreme. His sword, which she used to kill him, is smeared with his own blood. [20] Typical of his style, Wiley's Judith is surrounded by a pattern of brightly colored flowers and due to the brightness of her surroundings, it only later becomes apparent that she is holding the severed head of a white woman. After seducing Holofernes with her beauty and a false plan to defeat her people, Judith decapitated him as he lay drunk in his tent Kunstbuch: Joachims Nagels, "I'll Make You Shorter by a Head (Judith I)", "Outsource to China – While riffing on the Western canon. In the story, Judith, a beautiful widow, is able to enter the tent of Holofernes because of his desire for her. Its traits are transfigured so as to obtain the greatest degree of intensity and seduction, which Klimt achieves by placing the woman on an unattainable plane. [8] The beheading and its aftermath have been commonly portrayed in art since the Renaissance, and Klimt himself would paint a second work depicting the subject in 1909. Her half-closed gaze, which also ties into an expression of pleasure, directly confronts the viewer of all this. It depicts the biblical figure Judith holding the head of Holofernes after beheading him. Franz A. J. Szabo describes it best as a "[symbol of] triumph of the erotic feminine principle over the aggressive masculine one". Oil on canvas, 54 7/8 x 45 5/8 in. When Klimt tackles the biblical theme of Judith, the historical course of art has already codified its main interpretation and preferential representation. 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 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. Gentileschi, Judith and Her Maidservant with the Head of Holofernes Our mission is to provide a free, world-class education to anyone, anywhere. The Book of Judith, part of the Old Testament Apocrypha, relates how the beautiful Jewish widow killed Holofernes, the Assyrian general directing the siege of her city, Bethulia. Judith holds the recently severed head of Holofernes by its hair. Especially in Germany an interest developed in female "worthies" and heroines, to match the traditional male sets. The subject is executed with a directness that sets it apart from many other contemporary renditions. An … Mysterious forces seem to be slumbering within this enticing female". In the 1901 version, Judith maintains a magnetic fascination and sensuality, subsequently abandoned by Klimt in his Judith II, where she acquires sharper traits and a fierce expression. Abra, the maidservant of Judith, a Jewish widow renowned for her beauty and charm, wraps the severed head of the Assyrian general Holofernes in a bag. More from This Artist Similar Designs. More from This Artist Similar Designs. The full scene depicts the sleeping guards on the left and on the right the body of Holofernes. Kehinde Wiley's global reach", "Obama portrait artist's past work depicted black women decapitating white women", https://en.wikipedia.org/w/index.php?title=Judith_beheading_Holofernes&oldid=1005199888, Creative Commons Attribution-ShareAlike License, This page was last edited on 6 February 2021, at 13:36. $13. After reciting a long prayer to God, she dons her finest clothes in order to seduce him. [3][8] In Artemisia Gentileschi's painting Judith Slaying Holofernes (Naples), she demonstrates her knowledge of the Caravaggio Judith Slaying Holofernes of 1612; like Caravaggio, she chooses to show the actual moment of the killing. When Rubens began commissioning reproductive prints of his work, the first was an engraving by Cornelius Galle the Elder, done "somewhat clumsily",[11] of his violent Judith Slaying Holofernes (1606–1610). Horace Vernet. You can draw a Judith and the Head of Holofernes by Gustav Klimt 1901 by yourself with our easy kits for adults of famous paint by numbers. [6] This transition, from a desexualized image of Virtue to a more sexual and aggressive woman, is signaled in Giorgione's Judith (c. 1505): "Giorgione shows the heroic instance, the triumph of victory by Judith stepping on Holofernes's severed, decaying head. Subjects combining sex and violence were also popular with collectors. Judith with the Head of Holofernes Painting. Holofernes was an Assyrian general who was about to destroy Judith's home, the city of Bethulia. This small panel depicts an apocryphal Old Testament story that had particular meaning for the citizens of Florence. 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. El Beso (Los Enamorados) de Gustav Klimt. [5] Early Renaissance images of Judith tend to depict her as fully dressed and desexualized; besides Donatello's sculpture, this is the Judith seen in Sandro Botticelli's The Return of Judith to Bethulia (1470–1472), Andrea Mantegna's Judith and Holofernes (1495, with a detached head), and in the corner of Michelangelo's Sistine chapel (1508–1512). As the ancient story relates, Assyrian king Nebuchadnezzar sent his general Holofernes to besiege the Jewish city of Bethulia. Judith, described as a beautiful young widow, resolves to save her people by slaying Holofernes herself. It depicts the biblical character of Judith holding the severed head of Holofernes. Judith and the Head of Holofernes (also known as Judith I, German: Judith und Holofernes) is an oil painting by Gustav Klimt, painted in 1901. [12] Other prints were made by such artists as Jacques Callot. Judith is a Jewish widow who ingratiates herself with the invading general Holofernes, waits for him to fall asleep, and then hacks his head off and takes it home with her (thus thwarting the entire invasion, because the Assyrians evidently had no Plan B if Holofernes was killed. However, a Northern tradition developed whereby Judith had both a maid and a charger, famously taken by Erwin Panofsky as an example of the knowledge needed in the study of iconography. Holofernes was an Assyrian general who was about to destroy Judith's home, the city of Bethulia. Judith was a wealthy Jewish widow whose village was being attacked by the Assyrian Army led by its general, Holofernes. She then “drew close to the bed, grasped the hair of his head… then with all her might she struck his neck twice and cut off his head” (Judith 13.7-8). Athenæum purchase, 1838. After eating and drinking, Holofernes, now drunk, fell asleep on his bed, allowing Judith to seize her chance to draw her scimitar and strike the deadly blow. Overcome with drink, he passes out and is decapitatedby Judith; his head is taken away in a basket (often depicted as being c… Khan Academy is a 501(c)(3) nonprofit organization. [1] For many artists and scholars, Judith's sexualized femininity interestingly and sometimes contradictorily combined with her masculine aggression. The story was quite popular with Klimt and his contemporaries, and he painted Judith I in 1901, as a dreamy and sensual woman with open shirt. [9] A different composition in the Pitti Palace in Florence shows a more traditional scene with the head in a basket. Like Lucretia, Judith was the subject of a disproportionate number of old master prints, sometimes shown nude. Later Renaissance artists, notably Lucas Cranach the Elder, who with his workshop painted at least eight Judiths, 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 Jonathan Jones. It depicts the biblical figure Judith holding the head of Holofernes after beheading him. The tale of the pious Hebrew widow Judith, who saved her village by seducing and then beheading the Assyrian commander Holofernes, was viewed in Renaissance Italy as a warning to tyrants who threatened the independence of Italian city-states. Judith with the Head of Holofernes 1596 Oil on canvas, 120 x 94 cm Ringling Museum of Art, Sarasota: The biblical story of Judith made a deep impression on Galizia at an early age and she treated the subject many times, several versions are in private collections. The fashionable hairdo is emphasized by the stylised motifs of the trees fanning on the sides. "[3] Italian painters including Caravaggio, Leonello Spada, and Bartolomeo Manfredi depicted Judith and Holofernes; and in the north, Rembrandt, Peter Paul Rubens, and Eglon van der Neer[7] used the story. The beheading and its aftermath have been commonly portrayed in art since the Renaissance, and Klimt himself would paint a second work depicting the subject in 1909. Judith with the Head of Holofernes and a Servant Painting. She has placed the head of Holofernes in a basket held by her maidservant and is covering it with a cloth. $11. He has been murdered, brutally, by Judith, immediately after she had seduced him. 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