artemisia gentileschi’s judith decapitating holofernes is part of which movement

Artemisia gentileschi’s judith decapitating holofernes is part of which movement
There have been many different interpretations and viewpoints on Judith Slaying Holofernes by art historians and biographers alike. Art historian Mary Garrard believes that Judith Slaying Holofernes portrays Judith as a “socially liberated woman who punishes masculine wrongdoing”. [11] Although the painting depicts a scene from the Bible, art historians have suggested that Gentileschi drew herself as Judith and her mentor Agostino Tassi, who was tried for and convicted of her rape, as Holofernes. Gentileschi’s biographer Mary Garrard famously proposed an autobiographical reading of the painting, stating that it functions as “a cathartic expression of the artist’s private, and perhaps repressed, rage”. [12] Griselda Pollock suggests that the painting should be “read less in terms of its overt references to Artemisia’s experience than as an encoding of the artist’s sublimated responses to events in her life and the historical context in which she worked.” [13] More recent discussion of the painting has moved away from too close a relationship to the rape of Gentileschi; rather it has focussed on Gentileschi’s determination to paint strong women who are the centre of the action. [14]
Caravaggio’s Judith Beheading Holofernes shows a different portrayal of this scene. Mary Gerrard points out that Caravaggio “reintroduced a narrative emphasis, but focusing now upon the dramatic rather than the epic features of the story and upon the human conflict between the two principal characters”. [5] Caravaggio shows Holofernes holding the blood coming from his neck like a string. [7] Rather than making the scene of Holofernes’s beheading more palatable for the viewers, Gentileschi differs by not holding back the gruesome imagery. Gentileschi also shows Judith putting her full efforts into the slaying, even by employing her maidservant. In both Caravaggio and Gentileschi’s paintings there is a notable absence of decorative detail in the background. [10]

self portrait of michelangelo as st Barthilomews flayed skin
Bernini depicts his David at exactly the same moment in the story as the versions by his predecessors Donatello and Michelangelo.

Artemisia gentileschi’s judith decapitating holofernes is part of which movement
• Abduction of the Sabine Women (1634-5) by Nicolas Poussin.
Metropolitan Museum of Art, New York.
It is believed that the picture was painted for Cosimo II de’ Medici (1590-1621), the same man who pardoned Tassi, and completed in Rome immediately after Artemisia’s return there after having spent 7 years in Florence. Due to its graphic nature, the painting was hidden away in a quiet corner of the Pitti Palace, and Gentileschi wasn’t even paid for it, until after Cosimo’s death. Eight years after the completion of Judith Beheading Holofernes, Artemisia settled in Naples. For more, see: Neapolitan School of Painting (1600-56).

Artemisia gentileschi’s judith decapitating holofernes is part of which movement
The Great Compromise was developed at the Constitutional Convention and helped in creating the modern day structure of Congress. In this deal, both states with small populations and large populations got something they wanted. For example, the Senate would be composed of 2 Senators from each state, regardless of their states population. This helped to ensure that smaller states had a voice in the creation of federal laws.
Destroyed Europe–the ape is representing Germany and he has taken a lady (representing liberty). He is stepping onto the shores of America with Europe in the background destroyed.

Artemisia gentileschi’s judith decapitating holofernes is part of which movement
The story of Judith and Holofernes was very popular and had been represented in paintings and engravings since the middle ages. What changes in some of these representations is the meaning attributed to the story, the degree of violence depicted in the work, and the way Judith is shown. Caravaggio’s painting is one of the first to make the beheading explicit and violent, and to show Judith in the act of doing it.
The story: Holofernes was an Assyrian general who laid siege to the Israelite town of Bethulia. The residents were about to give up and surrender when the widow Judith devised an independent plan. Taking her maid Abra with her, she set out for the enemy camp, finds the tent of Holofernes, and says she has come to help him. She tells him that the Israelites cannot be defeated unless they sin against god, but they were about to do so. Therefore, she said, Holofernes should extend the siege a little longer. This he does, and while he waits, he invites Judith into his tent. He plans to seduce her but being drunk, he falls asleep. Judith takes his sword and cuts off his head, gives it to Abra who puts it in a bag of food, and they leave and return to Bethulia. The Assyrians fall apart without their leader and are now defeated by the Israelites. The story is usually considered as an allegory rather than as history. In some versions, Judith is thought to be the equivalent of Judaism and Bethulia is the House of God. In other versions, such as that used by Caravaggio, Judith is associated with Mary as the symbol of the church, and Holofernes represents all sinners who can be saved if they choose to repent. This is the only way to explain the frail and ineffective representation of Judith, in contrast with the image of Holofernes.


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