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The account of the beheading of Holofernes by Judith is given in the deuterocanonical Book of Judith, and is the subject of many paintings and sculptures from the Renaissance and Baroque periods. In the story, Judith, a beautiful widow, is able to enter the tent of Holofernes because of his desire for her.
The painting shows the headless body of Holofernes slumping over. Judith sweeps Holofernes's head into a basket showing a look of swiftness about her. The viewer can see the maidservant's head in the background while the rest of her body is unseen. She seems eager to see what directions Judith will give her next. [7] The decapitated body of ...
Judith and her Maidservant with the Head of Holofernes; Judith and Holofernes (Goya) Judith and Holofernes (Boulogne) Judith and Holofernes (Preti) Judith and the Head of Holofernes; Judith at the Gates of Bethulia; Judith Beheading Holofernes (Caravaggio) Judith Beheading Holofernes (Finson or Caravaggio) Judith Beheading Holofernes (Finson ...
Judith and Her Maidservant is a painting by the Italian baroque artist Artemisia Gentileschi. Executed sometime between 1645 and 1650, it hangs in the Museo di Capodimonte in Naples. The story comes from the deuterocanonical Book of Judith , in which Judith seduces and then assassinates the general Holofernes, who had besieged Judith's town.
His famous depiction of Judith Beheading Holofernes from the late 16th century focused more on the conflict than previously seen. [4] Caravaggio's Judith Beheading Holofernes, c. 1598-99. The Uffizi Judith was commissioned by Grand Duke Cosimo II de' Medici who was responsible for art patronage at the Medici court. [6]
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. [1] This particular work, executed in about 1623 to 1625, now hangs in the Detroit Institute of Arts . [ 2 ]
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 Assyrian army. When Klimt addressed the biblical theme of Judith, the historical course of art had already codified its main interpretation and preferred representation.
English: Two women pin down a man on a bed. With one hand, Judith holds his head; with the other, she slices his throat with a long sword. The intensity of the scene is highlighted by the dripping blood soaking the white bed sheets and the man's eyes wide open — conscious, but helpless.