Judith's Assassination Of Holofernes

Judith’s assassination of Holofernes is a tale that appears to have captivated a number of artists during the Renaissance and Baroque periods. The story originates from the Book of Judith of the Old Testament, and tells the story of the titular widowed heroine from the Jewish city of Bethulia, whose home was besieged by the Assyrian Army. In an effort to save her people and her home, Judith snuck into the enemy camp and managed to decapitate general Holofernes, who was infatuated with Judith and had passed out from drunkenness while in her company. A number of artists, including Donatello, Caravaggio, and Rembrandt, have used this story as a subject in their work. However, what is arguably the most dramatic and powerful artistic depiction

It was somewhat common for artists to depict the story of Judith in a romanticized fashion, painting the heroine as beautiful and delicate in spite of her violent actions. Gentileschi’s interpretation differed drastically from this norm, with its theatrical presentation shifting the focus to the raw emotion of the act rather than the beauty of the woman committing it. “Unlike other artists who focused on the ideals of beauty and courage evoked by the Jewish heroine Judith, Gentileschi chose to paint the biblical story’s gruesome climax, producing a picture that is nothing short of terrifying.” Here, the two women’s violent act is depicted in vivid detail. As previously mentioned, the strain on their faces shows their determination and power, and their unflinching expressions depict a willingness to follow through with their violent actions. The graphic nature of the act is further accentuated by the blood that oozes down the white sheets of Holofernes’s bed and violently sprays from his throat. Dr. Camara makes note that the blood spray appears within a frame created by Judith’s arms and appears to “arc and descend in droplets that bespeckle her arms and dress.” This framing device draws attention to the gory effects of Judith’s actions, emphasizing the brutality of her actions. The blood is highlighted, and is directed straight at the woman responsible for the violence. But instead of shying away from the gruesomeness of her actions, Gentileschi’s Judith allows the blood to stain her skin and her clothes. She does not appear concerned with vanity. She is instead focused on her task and shows little regard in her appearance and adhering to the conventions of feminine behavior. To state it simply, Gentileschi’s Judith appears willing to get her hands dirty, and does with an unwavering level of resolve. The crimson-colored velvet sheet that Holofernes is