what style is judith and maidservant with the head of holofernes analysis
This Jewish narrative begins with the attempted siege of Bethulia, an Israelite city, by the Assyrian army, conquering their way to Jerusalem. Judith, a widow living in Bethulia, offers herself up in order to combat the surrender of her people. Accompanied by her maidservant Abra, Judith accepts an invitation to a secluded feast from the Assyrian general Holofernes. His desire to lay with Judith, upon donning her finest garments, along with the large consumption of alcohol ultimately lead to his demise. Once asleep in his bed chamber, Judith arms herself and has Abra keep watch outside. The Hebrew heroine beheads Holofernes and brings the severed head to her people, where they rejoice over her victory. News travels through the ranks of Holofernes’ death, leading to the Assyrian army’s defeat at the hands of the Bethulians. 
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.  This particular work, executed in about 1623 to 1625, now hangs in the Detroit Institute of Arts.  The narrative is taken from the deuterocanonical Book of Judith, in which Judith seduces and then murders the general Holofernes. This precise moment illustrates the maidservant Abra wrapping the severed head in a bag, moments after the murder, while Judith keeps watch. The other three paintings are now shown in the Museo di Capodimonte in Naples, the Palazzo Pitti in Florence, and the Musee de la Castre, Cannes. 
Baroque painting Judith Decapitating Holofernes c. 1618 by Italian artist Artemisia Gentileschi. This painting is oil on canvas painting in the style of classical Italian Baroque characteristics of chiaroscuro, dramatic realism, naturalistic, and rich vivid colors. What I see physically at first from the painting is at the center of the work a violent action is being played out by two young women using a sword to behead a man’s head while he’s in bed. I can see the arm strength of Judith and her maidservant
contrast, Gentileschi’s Judith Beheading Holofernes (Figure 6) has a darker, more dramatic aesthetic. In this painting, Judith and her maidservant slay the head of the Assyrian general Holofernes to save Israel from the Assyrian invaders. Immediately, the viewer’s eye is drawn to the head of Holofernes by the arms of Judith and her maidservant as well as the blood spurting from his neck. The tenebrism adds to the drama of the scene, reminiscent of a stage play. The size of Holofernes struggling against
Artemisia Gentileschi was the first woman to get accepted into the Accademia delle Arti del Disegno (Academy of the Arts of Drawing); she was considered a respected artist of her time along with her male peers. Her career successfully continued after the initial phase, and in 1638 together with her father Artemisia moved to England to work as a court painter at the court of Charles I of England (whose collection includes one of Artemisia’s paintings – the Self-Portrait as the Allegory of Painting). As the painter grew older, her work became more graceful which has to be the result of her conscious articulation of a woman painter.
The art historian Mary Garrard, who wrote the first Artemisia Gentileschi biography, suggested that Judith Slaying Holofernes represents Judith as a socially liberated woman who punishes masculine deeds, in this case, the wars. Furthermore, Garrard suggested an autobiographical interpretation of the painting, underlining that it functions as a cathartic expression of the artist’s private, and perhaps repressed, rage. On the other hand, distinct feminist art historian Griselda Pollock proposed 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.”
Artemisia Gentileschi, “Judith and Her Maidservant with the Head of Holofernes”
In this painting, we really feel the action after the violence. In one of her other paintings, Gentileschi painted the actual moment of the beheading in all its bloody glory. Here she painted the aftermath, the escape complete with the separated head of Holofernes. Unlike many of her contemporaries, Gentileschi composed a scene not of triumph, or even detachment, rather it is one of suspense. These two women have finished the first part of their plan, and now they need to get away with it.
7. Thematic or Cross-cultural connections:
Artemesia Gentileschi was an Italian Baroque painter and is considered today to be one of the most accomplished artists of that time. She was the first woman to be accepted to be a member of the Accademia di Arte del Disegno in Florence, Italy. The content of her paintings were mainly female figures from various myths, along with the bible. Because Gentileschi was a woman, and because she was raped and went forth prosecuting the rapist (which was very unheard of at the time, her achievements were overlooked for generations. Today, she is known to be one of the most progressive and expressionist painters of the baroque period.