This painting represents the love of an woman towards her husband. Wife was pleading her husband not to go at war because she care about husband’s life. Which show that female women at that age till now cares about their husband.
“It seems that Judith gains strength enough to deliver death blows to Holofernes by naming her lord by his name (be naman nemnan; 81a) and identifying him as the Holy Trinity. Her incantation momentarily transforms Holofernes's tent into a Christian sphere: the holy maiden seizes "the heathen man" ([thorn]one hae[eth]enan mannan; 98b) by the hair; having struck "the heathen dog" ([thorn]one hae[eth]enan hund; 110a) for the second time, she not only makes his head roll onto the floor but sends his soul down to an underworld with an unmistakably Christian quality. The narrator evokes the image of Holofernes's body left in darkness for worms to feast on--a common Christian image, which nonetheless echoes with Germanic images in the poem: the earlier banquet scene where Holofernes is the feaster rather than the feasted on, and the later scene where the Bethulians leave the Assyrians' corpses for beasts of battle to consume” (290-96a). (Momma).
In the year of 1571, Caravaggio was born in Italy. At age 11, Caravaggio was orphaned, luckily he was apprenticed with a painter in Milan. His work became popular when he moved to Rome. Caravaggio's work became popular for the “tenebrism technique he used, which used shadow to emphasize lighter areas” (“Caravaggio”). This painting tells a biblical story about Judith Beheading Holofernes. In the picture, Judith is the women in the middle that is about to behead Holofernes, the man lying on the bed. The reason why she is doing this because she is saving her people from Holofernes. The women on the far left is Judith’s maid waiting for her to behead Holofernes (Judith Beheading Holofernes, 1599 by Caravaggio). Caravaggio used many elements
Judith Slaying Holofernes is one of her masterpieces that has been acknowledged as a proper piece to understand the main characteristics of her painting style. Carol Strickland, an American art historian, explains that this painting shows how Gentileschi depicted her subject into the style of Caravaggio, who was her father’s teacher and famous for dramatic lightning (Strickland, 47). Based on these facts, some critics conjecture that Gentileschi may just have borrowed the dramatic story from the Book of Judith to express her technique that resembled that of Caravaggio. They argue that it is unreasonable and too subjective to relate Judith Slaying Holofernes with the identity of Gentileschi. Identity of Gentileschi, however, cannot be separated with the story of Judith and the painting Judith Slaying Holofernes because Gentileschi’s identity severely resembles that of Judith. Their struggle, success leaded by their capacity, and destruction of the gender stereotypes are main common aspects that Judith and Gentileschi share. These qualities further prove how Artemisia Gentileschi was an ideal feminist who asserted her freedom inside an unfair
The story behind this painting is a Biblical tale about a strong heroine named Judith, who was known for her bravery and resistance against the Assyrian troops that come to assume control over her people. In this story, Judith uses her wit and seduction to ease her way into the Assyrian troops' camp and continue with a genius plan to execute the Assyrian General, Holofernes. She seduces him, and once he is drunk, beheads him in his own tent, with his own soldiers all around him oblivious (Branch). Judith was able to defeat the enemy and resist what could have been the end of many Israelites' lives. Cranach's choice suggested a political resistance that required a bravery similar to that of Judith's. Small details in the painting such as the bodice of the dress and Judith's jewelry show Cranach's love for a decorative surface, as well as the
Judith Slaying Holofernes1, by Artemisia Gentileschi, is an oil painting and was completed in 1620. It retells the Old Testament story of Judith, a Jewish widow of noble rank. An
life, one being immediately after Holofernes’ head is cut off and Judith and her maid are fleeing
It seemed as if the court almost condoned his actions and felt little pity for Artemisia. Her paintings, at this point in her life, become drastically different. In about 1612, she paints the first of five works of Judith and Holoferness. The gory scene shows Holoferness, an Assyrian general being beheaded by Judith, a Jewish widow. The scene shows ample amount of blood, however, it does not feel like a room of murder. The killing of Holoferness by Judith is done in order to protect her homeland and life. Also, she prays to god in order to give her the strength to do the killing. Therefore, she felt it was justifiable. It is a rare message for the early 1600's in that it is the woman avenging a man. The powerful scene of It seems that Artemisia paints these works in order to avenge her own suffering from Tossi as well as the justice system. By depicting such a strong and powerful woman, Artemisia is, in a sense, creating a world which she believes in. In this world, women can speak up and women are heard. Women are just as capable of murder, leadership, and power as any man. Artemisia paints four more scenes of Judith and Holoferness all varying slightly. However, her overall theme and meaning of the work is consistent. Simply put, Judith is a woman to be looked at and respected for being a strong willed woman who stands up for what she
His technique was creating shadowy and intense contrasts of light and dark called tenebrism and gradations of light and dark called Chiaroscuro. His usual subject matter was dramatic and realistic. Those who followed him were called Caravaggistis. Among those influenced by him was the painter Orazio Gentileschi and his daughter Artemisia Gentileschi, who he trained, and who became one of the first woman artists of her time to get accepted in Florence's Academy of Design. Her favorite subjects were dark, violent and often involved heroic woman. When you look at some of her work, such as the famous "Judith Slaying Holofernes", you can see some of these characteristics. In this piece you can see she used the signature tenebrism technique, completely darkening the background to highlight the focus of the painting to the action happening in the center, giving dramatic effect. The perspective invites you in and their intense facial features and violent action that is caught in the moment, also add to the drama and realism, making you feel emotionally and realistically involved in the gruesome scene of Judith beheading the assyrian general
The image that was given was about a man covering or protecting the girl, there was three man who looks like a judge or a counselor, and it looks like an accusation or confession. This image is about the play that was written by Arthur Miller, The Crucible. The play was about witchcraft that was observing in the village, and because they were Christians who has strong faith.in God they prohibited witchcraft. They don’t like witchcraft not because this can ruin their religion but it is also a threat to their society. It the image connects to the theme because since the witchcraft has happened in their village, they were investigating people and killing innocent people.
I believe, as do others, Judith and the Maidservant with the head of Holofernes is perhaps homage to her rape and subsequent treatment during her adolescent years. Her painting`s inspiration also plays tribute to the biblical story of Judith, who sleeps with the King Holofernes and than decapitates the drunk King in his sleep. Both Judith and the maidservant are now dominate in the painting over the dead male, they are quiet, unobtrusive and tense. A single candle burns within the dark room creating stark contrast between light and dark. The artist`s great skill can be seen in the bright highlighted details of Judith's hand and in the folds of clothing of the two. Depth and dark core detail can also be seen in the dark and reflective shadow areas within the room. Judith's hand covers the candlelight as she peers at the outside world, perhaps in an attempt to help in
Judith and Maidservant with the Head of Holofernes, circa 1625, is one of several paintings depicted by numerous authors about Judith, the fearless widow from The Book of Judith in the Old Testament. Artemisia Gentileschi herself painted four scenes of Judith’s story. Judith was an attractive Jewish princess, chosen by God, to save the Israelite town of Bethulia from an army siege commanded by Assyrian General Holofernes. Judith, accompanied by her maidservant, Ara, went to the campsite to find Holofernes and after using her seductive beauty, got him drunk and
1597-98). The heroic moment of Judith’s courage to as she beheads the general Holofernes is frozen onto the canvas. Instead of mathematical conventions, form is shown through dramatic tonal rendering, and contrast between the 3 figures and the darkness of the background. Similar to a photograph of a stage play. Caravaggio’s focus on the quality of the subject is the main story-telling factor. Holofernes’ mixed facial expression shows the remaining aspects of shock and panic as if there is still one final breath of life within him as his neck is being cut. However, the clear focus is on Judith herself who, standing relatively far away from the General whom she is beheading, has an unmistakably disgusted facial expression as if she wants to end the act with haste. The overall horrific atmosphere is amplified by the curtain behind the figures, it is the same colour as the blood that is shooting out from Holofernes’ neck, a visual representation to the violent act but also the Judith’s bravery and determination to save her hometown. The clear exaggeration of the blood, and theatrical style is typical of the Baroque visual
Judith Cutting Off the Head of Holofernes (Figure 1), ca. 1640,1 is consisting of a well-dressed female decapitating a middle-age man in his bed with the aid of an old woman. The elegantly dressed female using a sword to behead the man is named Judith. The male figure in the painting is
In each of the paintings, the figures appear somewhat different to each other, with those in “Judith Slaying Holofernes” looking far more humanistic than that of “Judith with the Head of Holofernes”. In Mantegna’s painting, Judith and her servant, Abra, look statuesque in pose while Judith, as if in pity for her victim, turns her eyes away from the head of Holofernes that she holds above the bag her servant holds open Judith. In Renaissance art,