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Chaaravaggio's Judith Beheading Holofernes

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Charmagne McNewHUMN1101Final Research Project Part 316 April 2016Caravaggio’s Judith Beheading HolofernesThe Baroque time period is thought of as a period of artistic style that used alarge amount of motion and easily interpreted detail in order to create drama, tension,and other expressions in their pieces of art. The style began around 1600 in Rome,Italy, and spread to most of Europe.[1] Thanks to the Catholic Church, this time periodwas able to grow and played an enormous role in the artworks ability to that the artsability to speak to the viewer religiously and emotionally. Caravaggio is most famous forhis dark and twisted artwork. This particular piece is an oil canvas painted in 1598. Hisability to make his artwork appear very dramatic
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Orazio Gentileschi, who was one of the Italian Baroque painters working in Rome at the time, was heavily influenced by Caravaggio in the 1600s. Gentileschi used “dramatic, unconventional gesture and monumental composition” (The Editors of Encyclopædia Britannica) in his paintings and his strong chiaroscuro shows off his abilities to create naturalistic figures in a dark space much like Caravaggio. The story of Judith is an example of a gruesome story painted with the intense detail and unsettling naturalism some artists at the time were practicing with. Gentileschi started Judith and her Maidservant with the Head of Holofernes in 1621 and by the time he finished four years later, his style had softened and returned to a more Mannerist style. This is highlighted in his most famous painting The Annunciation in 1623.

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Continuing into the Baroque era, portrayals of Judith were exaggerated and dramatized. Gentileschi’s oil painting created in 1614, Judith Slaying Holofernes, displays the gruesome story in a graphic and dark manner (Uffizi). Heavily influenced by Caravaggio, Gentileschi paints the scene of Judith during the slaying of Holofernes. Unlike the work of past artists and her current male counterparts, Gentileschi shows no mercy or fragility in Judith. While Caravaggio’s Judith recoils from her horrific task, Gentileschi’s Judith does not flinch; she braces herself on the bed and pulls the large sword through Holofernes neck (Khanacademy.org).

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