Showing posts with label Artemisia Gentileschi. Show all posts
Showing posts with label Artemisia Gentileschi. Show all posts

Sunday, February 8, 2015

Masterpiece of the Week: Judith Slaying Holofernes by Artemisia Gentileschi, 1620

Judith Slaying Holofernes
Artemisia Gentileschi, 1620
Uffizi Gallery
The Biblical figure of Judith has often been used to represent Judaism itself. A Jewish widow, Judith was a noblewoman in the town of Bethulia which was under siege by an Assyrian army led by a tyrant called Holofernes. One night, Judith enchanted Holofernes with her great beauty as she and her maid, Abra, got the man intoxicated with wine. When Holofernes, passed out, Judith seized the opportunity to murder him so that she could protect her people. With Abra’s help, Judith used a sword to decapitate Holofernes—bringing his head as a trophy to Bethulia. Her people, so encouraged by the display, battled the Assyrians and won.


The story of Judith was a favorite of Artemisia Gentileschi who painted the subject twice. She was intrigued by the idea of a powerful woman. The first version, painted in Naples, is an excellent painting. However, her 1620 version, painted in Florence, is a superior work. Artemisia portrayed Judith in her trademark Artemisia gold—a symbol of strength. The strength of the women seems to reflect Artemisia’s personal fortitude.
Indicative of her quest for realism, Judith shows the veins and muscles of the dying man as he struggles—his legs tangled in his blood-red bed clothes—against the sword at his throat. Blood spurts from his wound onto the two women. Judith’s determination is readily apparent in her face and the tension in her arms as she wields the heavy sword is palpable.

This work is indicative of the power of Artemisia’s painting. Seeing this scene makes her historic induction as the first woman in the Academia seem very fitting indeed. Her talent knew no gender.

Wednesday, September 22, 2010

Masterpiece of the Week: Judith Slaying Holofernes by Artemisia Gentileschi, 1620

Judith Slaying Holofernes
Artemisia Gentileschi, 1620
Uffizi Gallery
The Biblical figure of Judith has often been used to represent Judaism itself. A Jewish widow, Judith was a noblewoman in the town of Bethulia which was under siege by an Assyrian army led by a tyrant called Holofernes. One night, Judith enchanted Holofernes with her great beauty as she and her maid, Abra, got the man intoxicated with wine. When Holofernes, passed out, Judith seized the opportunity to murder him so that she could protect her people. With Abra’s help, Judith used a sword to decapitate Holofernes—bringing his head as a trophy to Bethulia. Her people, so encouraged by the display, battled the Assyrians and won.


The story of Judith was a favorite of Artemisia Gentileschi who painted the subject twice. She was intrigued by the idea of a powerful woman. The first version, painted in Naples, is an excellent painting. However, her 1620 version, painted in Florence, is a superior work. Artemisia portrayed Judith in her trademark Artemisia gold—a symbol of strength. The strength of the women seems to reflect Artemisia’s personal fortitude.

Indicative of her quest for realism, Judith shows the veins and muscles of the dying man as he struggles—his legs tangled in his blood-red bed clothes—against the sword at his throat. Blood spurts from his wound onto the two women. Judith’s determination is readily apparent in her face and the tension in her arms as she wields the heavy sword is palpable.

This work is indicative of the power of Artemisia’s painting. Seeing this scene makes her historic induction as the first woman in the Academia seem very fitting indeed. Her talent knew no gender.




Recommended Reading: The Passion of Artemisia by Susan Vreeland

Artemisia Gentileschi
Self Portrait as a Martyr
Artemisia Gentileschi was born in Rome in 1593, the daughter of well-respected painter Orazio Gentileschi. She learned at her father’s side. Orazio was a devotee of Caravaggio. This influenced Artemisia’s painting greatly and she emulated the use of musculature and chiaroscuro which dominated Caravaggio’s work. However, where Orazio painted idealized forms, Artemisia strove to produce pictures of startling realism. Her subject matter focussed heavily on strong female figures. She had a particular fondness for the subject of Judith slaying Holofernes.


In Baroque Italy, for a woman to be accepted as a credible artist was next to impossible. However, Artemisia persevered despite considerable hardships including rape and abandonment by her husband. Still she soldiered on, becoming the first woman to be accepted into the prestigious Accademia delle Arti del Disegno.

A move to Florence to begin a new life marked an important opportunity for Artemisia when Cosimo II de Medici became her patron and introduced her to a new world of interesting people and incredible circumstances. Today, she is considered one of the most talented painters—male or female—of her time and her surviving works grace museums such as the Uffizi Gallery.

Author Susan Vreeland has crafted a remarkable novel, The Passion of Artemisia, which offers a fictionalized account of the artist’s struggles and triumphs. Admittedly, the book, being fiction, is not an entirely accurate biography, however it does capture the sights and smells of Baroque Italy and gives us a look into what life must have been like for this remarkable woman. Inspiring, heart-breaking, and gripping, Vreeland’s novel is a fitting tribute to one of the first female art pioneers.