Judith and her Maidservant is an artwork on USEUM. Here too, Artemisia realistically portrays human beings in dramatic moments, The aftermath of the rape trial involving her father's friend Agostino Tassi, as well as the opinions of those that challenged her virtue, may have influenced her style and content. Christiansen, Keith; Mann, Judith Walker. [3] Vivid tones of color, ranging from Judith's golden dress to the deep crimson curtain, contribute to an elemental component that is unique to Gentileschi's style, unlike Caravaggio. "[4], The painting was in possession of Prince Brancaccio in 1952, where it was co-owned by Alessandro Morandotti of Rome, Italy, and Adolph Loewi of New York. Judith And Maidservant With The Head Of Holofernes, c.1625 by Artemisia Gentileschi canvas art arrives ready to hang, with hanging accessories included and no additional framing required. Artemisia Gentileschi, Judith and Holofernes, 1620-21, oil on canvas, 162.5 x 199 cm (Uffizi Gallery, Florence) Speakers: Dr. Steven Zucker and Dr. Beth Harris. She left with her maidservant, Abra, traveled to the enemy’s camp, and told the soldiers she intended to help them. Having said this, Garrard believes the meaning behind Gentileschi and Judith is much more complex. Richardson, E. P. "A Masterpiece of Baroque Drama". It was frowned upon for women to study the anatomical structures of nude models, especially as a virtuous unmarried woman. The interpretation of Judith may be the correct one, and is confirmed by the 1533 record of a painting by Titian, titled Judith, in the collection of Alfonso I d’Este. This is a theme often used as a symbol of virtue. News travels through the ranks of Holofernes' death, leading to the Assyrian army's defeat at the hands of the Bethulians. Garrard infers that men feared Gentileschi's series of Judith beheading Holofernes because it brought to life the notion of a woman taking control and ruling over a man. Judith and Holofernes From related movement. This particular work, executed in about 1623 to 1625, now hangs in the Detroit Institute of Arts. [2] The painting was first documented as being in the collection of Grand Duchess Maria Maddalena of Austria,[1] as part of a 1638 inventory.[3]. It depicts the moments after the biblical heroine Judith has assassinated the general Holofernes, and is fleeing his tent with her servant Abra. [9] The shadow cast on Judith's face resembles a crescent moon which is a symbol of Artemis, a reoccurring connection the artist made between the female figures. The central focus of Gentileschi’s rendering is the action: the beheading of Holofernes. Painting by Artemisia Gentileschi (Museum: Galleria Palatina). Italian Baroque Art. Her maid wraps his head in a bag or cloth whilst she keeps watch. [10] It is speculated by art historian Mary Garrard that Judith served as a righteous symbol from which people in the sixteenth and seventeenth centuries looked to in religious and political situations. Garrard notes the symbolism that writers have attributed to Judith beheading Holofernes, believing it to be Artemisia's version of retaliation from her personal life. The other three paintings are now shown in the Museo di Capodimonte in Naples, the Palazzo Pitti in Florence, and the Musée de la Castre in Cannes. Artemisia Gentileschi, Judith and her Maidservant, 1613–14, Palazzo Pitti, Florence. As mentioned above, Artemisia painted at least one other (fairly similar) version of this story - now in the Capodimonte Museum, Naples - as well as Judith and her Maidservant (1612-13) at the Pitti Palace, Florence. [5] Others who were very close to her, like academician Joachim von Sandrart, commended her work from which exuded "knowledge and rationality", traits that were not normally connected to women of the time. This precise moment illustrates the maidservant Abra wrapping the severed head in a bag, moments after the murder, while Judith keeps watch. [7] Art historian E. P. Richardson points out that this painting might serve as somewhat of a self-portrait, as Judith's maidservant possesses physical qualities that match those of Gentileschi, herself. Judith beheading Holofernes by Artemisia Gentileschi, 1620 (Photo Credit: Wikiart) Judith and her maidservant by Artemisia Gentileschi, 1613 (Photo Credit: Wikiart) Lavinia Fontana decided to depict the moment immediately after the beheading. "Artemisia in Her Father's House". It hangs in the Pitti Palace, Florence. softness of her cheeks combined with cool almost indifferent gaze and sneering expression. "Artemisia Gentileschi: Judith and Maidservant with the Head of Holofernes (52.253) — The Detroit Institute of Arts", "https://twitter.com/hashtag/artemisiadia", Self-Portrait as Saint Catherine of Alexandria, Saint Januarius in the Amphitheatre at Pozzuoli, Self-Portrait as the Allegory of Painting, https://en.wikipedia.org/w/index.php?title=Judith_and_Her_Maidservant_(Detroit)&oldid=1017954053, Paintings of the Detroit Institute of Arts, Short description is different from Wikidata, Articles using Infobox artwork/wikidata using locally defined parameters, Creative Commons Attribution-ShareAlike License, 72.44 in (184.0 cm) × 55.75 in (141.6 cm). The story of Judith and Holofernes is, like the story of David and Goliath, an Old Testament tale of the oppressed vanquishing the oppressor, or virtue conquering vice. Apart from this, she also developed an interest in historical compositions that derived from both biblical and mythological stories. Locker, Jesse. [5] A prime example of this is Michelangelo's pendentive of Judith in the Sistine Chapel. The dramatic potential of the story made it as ideal subject for the powerful theatricality of Baroque art. The tale is told in the Old Testament Book of Judith. Upon hearing this, Holofernes invited her to dinner. Judith and her Maidservant is a c. 1615 painting by the Italian baroque artist Artemisia Gentileschi. [10] In the Middle Ages, Judith was often cast in the same light as the Virgin, comparing their similar triumphs of beheading characters that represented evil—Holofernes and the devil, respectively. [5], Much like her father, Gentileschi's style in the formative years of her career followed that of Caravaggio, mirroring his methods of dark shadows and overall execution. Judith and her Maidservant, Artemisia Gentileschi. Dixon, Susan M.; Cavazzini, Patrizia (2008). In doing so, she has saved Israel from its oppressor. [5] Steering away from an all-encompassing approach to story-telling, Renaissance art marked the beginning of focusing entirely on the suspenseful moments of Judith's tale, particularly when Holofernes is beheaded. 2 Dimensional Art The two dimensional art that I observed is called Judith and Her Maidservant with the Head of Holofernes, created between 1623-25. Through this, Gentileschi painted a more complex description of the biblical heroine and her loyal companion, in order to, in Garrard's mind, break them free from confining stereotypes. This paper is aimed at discussing the painting Judith and Her Maidservant with the Head of Holofernes by Artemisia Gentileschi. [9] From the analysis of Diane Apostolos-Cappadona, the interpretation of Judith under Artemisia serves as an indicator of the female hero no longer painted in the righteous light of God. [1] The viewer is reminded of the violence which preceded this moment by the screaming head depicted on the pommel of the sword, thought to be a mythological figure such as Medusa.[4]. [5], C. 1625 painting by Artemisia Gentileschi. pp. The artist of this painting is Artemisia Gentileschi. [3] The artist utilized dramatic forms of chiaroscuro, most notably across Judith's half-lit face, her hand shielding the glow of the candle. Donatello is most well-known for this application, but the tradition is connected to other artists, like Sandro Botticelli, Michelangelo, Andrea Mantegna, Giorgio Vasari, Caravaggio and Artemisia Gentileschi. Or there's a scene like Artemisia Gentileschi's Judith and her Maidservant with the Head of Holofernes. [5] After practicing and honing her artistic abilities for only three years, Gentileschi's father Orazio described his daughter's talent as having superseded the level of the masters. Judith and Her Maidservant (ca. Judith and Her Maidservant with the Head of Holofernes By same artist. 1615–17) In this painting depicting the moments after Judith decapitates Holofernes, Gentileschi offers a tender image of … Judith and Her Maidservant is one of four paintings by the Italian baroque artist Artemisia Gentileschi that depicts the biblical story of Judith and Holofernes. Judith and her Maidservant. [8] Speculation from Elizabeth Cropper asserts that Gentileschi painted the feminine figures in a more heroic lighting, attributing characteristics of tragedy and sadness to these women, while also justifying their actions from an ethical standpoint. [1] Holofernes' attraction to Judith, which ultimately leads to a calamitous case of deception and violence, almost mirrors the events of Gentileschi's own life. [1] The explicit nature of the artist's interpretation has led writers to believe that there is a deeper meaning behind Artemisia's Judith, drawing back to the rape trial against Agostino Tassi. 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