Here, the grotesquely intense face of the old Analysis of Judith Beheading Holofernes by Artemisia Gentileschi Among the most famous female Old Masters of the 17th century, Artemisia Gentileschi was the daughter of Orazio Gentileschi (1563-1639) and the first woman artist to be elected a member of the Academy of Art in Florence ( … However, some argue that it isn’t fair to attribute all of her art to this, as it is a very reductive view of her artwork and motives, yet, I think in this instance, the rape may well have influenced her; we see the man and woman in the opposite scenario here. Un Ensayo de IconografÃa, Fin-de-Siècle Vienna: Politics and Culture, Gallery of works by Gustav Klimt at Zeno.org, Klimt University of Vienna Ceiling Paintings, Schorske, Carl E. "Gustav Klimt: Painting and the Crisis of the Liberal Ego" in. In the 1901 version, Judith maintains a magnetic fascination and sensuality, subsequently abandoned by Klimt in his Judith II, where she acquires sharper traits and a fierce expression. Judith's force originates from the close-up and the solidity of posture, rendered by the orthogonal projection of lines: to the body's verticality (and that of Holofernes') corresponds the horizontal parallels in the lower margin: those of the arm, the shoulders joined by the collier, and finally the hair base. Judith stands triumphant over the slain Holofernes, a sword in her right hand raised over her shoulder as if about to strike once more. Equally, the sheer brutality and harsh lighting, coupled with the vibrant colours, which contrast to the cadaverous skin tone of Holofernes makes this a very difficult painting to look at, especially as she confronts you with a dying man’s face; and yet, it is ‘safe’ for us to observe such horrors, as we are being fed it in the form of a Biblical narrative, which to us is like a fairy tale with only good and evil, good triumphing. This is one of the ways Gentileschi’s painting is much more violent and brutal than other depictions of the scene. In its formal qualities, the first version illustrates a heroine with the archetypal features of the bewitching and charming ladies described by symbolist artists and writers such as Wilde, Vasnetsov, Moreau, and others. Or conceivably the painting was designed to be seen from the right, and he was kingsnews.org © 2016. The expression on her face is cold and defiant. Drama has displaced the charm of his earlier epicurean Whereas Judith and her handmaid are incredibly purposeful in Gentileschi’s piece, eyes fixated on the act, reinforcing the idea that this picture may in fact be allegorical, serving as a form of catharsis for Artemisia, allowing her to ‘act out’ her vengeance, and vent her rage at her assault. El Beso (Los Enamorados) de Gustav Klimt. To stress and re-emphasize that the woman was actually Judith and not Salome he had his brother, Georg, make the metal frame for him with "Judith and Holofernes" engraved on it. When Klimt tackles the biblical theme of Judith, the historical course of art has already codified its main interpretation and preferential representation. [5] The moment preceding the killing â the seduction of Nebuchadnezzar's general â seems to coalesce with the conclusive part of the story.[6]. Holofernes's hair and cleaves through his neck with his own sword. shock, and Judith's sense of determination.
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