"[4], The painting was in possession of Prince Brancaccio in 1952, where it was co-owned by Alessandro Morandotti of Rome, Italy, and Adolph Loewi of New York. It hangs in the Pitti Palace, Florence. [5] The precise date of execution is up for debate, since Artemisia had been traveling around Italy at this time. Locker, Jesse. Garrard concludes that the symbolic differences between Judith and Abra connect to the past and present iterations of the artist, herself. No printing or digital imaging techniques are used. [5], Much like her father, Gentileschi's style in the formative years of her career followed that of Caravaggio, mirroring his methods of dark shadows and overall execution. [5] After practicing and honing her artistic abilities for only three years, Gentileschi's father Orazio described his daughter's talent as having superseded the level of the masters. This precise moment illustrates the maidservant Abra wrapping the severed head in a bag, moments after the murder, while Judith keeps watch. The scene itself captures the tale of Judith beheading the Assyrian general, Holofernes during a visit to his camp. The lighting is typically Caravaggio-esque, with extraordinary contrasts between the light and dark elements of the scene. The tale is told in the Old Testament Book of Judith. April 7, 2021 ∙ 1 minute read The story from the Book of Judith revolves around Judith, a daring and beautiful widow, who is upset with her Jewish countrymen for not trusting God to deliver them from their foreign conquerors. Christiansen, Keith; Mann, Judith Walker. Judith and Her Maidservant with the Head of Holofernes, ca.1623-1625 This impressive composition ranks among the masterpieces executed by Artemisia Gentileschi, daughter of the painter Orazio Gentileschi and a strong woman who, against all odds, established herself as a respected painter. In the present day Artemisia has become something of a female icon because of what she achieved against all the odds and this puts her in a similar bracket to the likes of Frida Kahlo who suffered severe injury and a troubled marriage. Garrard notes the symbolism that writers have attributed to Judith beheading Holofernes, believing it to be Artemisia's version of retaliation from her personal life. [9] In the Middle Ages, Judith was often cast in the same light as the Virgin, comparing their similar triumphs of beheading characters that represented evil—Holofernes and the devil, respectively. Judith and her Maidservant can be found at the Detroit Institute of Arts. For instance, Judith and her Maidservant (1613–14) depicts Judith holding a dagger and her maid holding a basket with a severed head inside, while others depict a maid covering the head of Holofernes, while Judith herself looks out the frame of the picture. In recent years the US galleries and museums have also been making a concerted effort to make their displays more diverse, featuring more women than before and also covering art from other cultures, such as Asia and Africa. This painting is one of the few by Artemisia Gentileschi that can be found in the United States. Il Gesù, including Triumph of the Name of Jesus ceiling fresco. In one example from her career, Judith is depicted by the artist with a bracelet which holds the image of Artemis, who famously defended her own honour with great vigour. Judith and Her Maidservant with the Head of Holofernes Pellegrini, Giovanni Antonio, 1675–1741 The Barber Institute of Fine Arts Photo credit: The Henry Barber Trust, The Barber Institute of Fine Arts, University of Birmingham Find out more about this artwork on Art UK. [5] Gentileschi painted the figures and components of the composition with a strong sense of realism. This particular work, executed in about 1623 to 1625, now hangs in the Detroit Institute of Arts. Judith and her Maidservant have cut off Holofernes head and are about to make their escape, when Judith hears something. 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. Over time it is important that the discussion is more about her being an exceptional Renaissance or Baroque artist, perhaps not even mentioning her gender at all and that would represent a real change in society. "Artemisia Gentileschi: Judith and Maidservant with the Head of Holofernes (52.253) — The Detroit Institute of Arts", Self-Portrait as Saint Catherine of Alexandria, Saint Januarius in the Amphitheatre at Pozzuoli, Self-Portrait as the Allegory of Painting, https://en.wikipedia.org/w/index.php?title=Judith_and_Her_Maidservant_(Detroit)&oldid=1011074116, Paintings of the Detroit Institute of Arts, Short description is different from Wikidata, Articles using Infobox artwork/wikidata using locally defined parameters, Creative Commons Attribution-ShareAlike License, 72.44 in (184.0 cm) × 55.75 in (141.6 cm). [5] Artemisia's Judith is always seen with a weapon at the ready. Judith, being clad in armor with heavy shoes—typically seen on a warrior or a member of the military—alters the perception of power coming from a source that is usually associated with the sensuous form. Jesse M. Locker expresses this particular painting's definitive qualities that quintessentially represent the dramatization within baroque art. There are also notable pieces from Claude Monet, Odilon Redon, Eugène Boudin, Edgar Degas, Gerard ter Borch, Peter Paul Rubens, Albrecht Dürer, Rembrandt van Rijn, Hans Holbein, James Abbott McNeill Whistler, Paul Cézanne, Eugène Delacroix, Auguste Rodin, Jean-Baptiste Carpeaux and François Rude. Author information: (1)Accademia Peloritana dei Pericolanti, University of Messina, Messina, Italy. "Artemisia Gentileschi: The Image of the Female Hero in Italian Baroque Art. Judith and her Maidservant is a c. 1615 painting by the Italian baroque artist Artemisia Gentileschi. This page was last edited on 8 March 2021, at 21:46. [8] The style of this composition is compared to Adam Elsheimer's Judith Slaying Holofernes, with the tenebristic lighting from the single candle and the drapery at the top corner of the canvas. They are under estimated because of their gender and also in that they number just two, against an entire enemy army. 1. Oil on canvas, 145 cm × 195 cm (57 in × 77 in). Judith and her Maidservant can be found at the Detroit Institute of Arts. [5] There is still much debate over the specific date in which this painting was created, however most scholars secure it within the mid-1620s. [6] It has been considered that the gender-based limitations of her Roman hometown, along with the absence of a mother for the majority of her life, assisted in Gentileschi's interest and focus on powerful female figures. Alongside that are a number of other paintings and sculptures by European artists from the Renaissance and Baroque periods, which themselves have greatily influenced the later artists of the US. Shalone Cason. Holofernes’ head is upside down. In particular, it is necessary to show how a dramatic sense is created by the artist. [5] The dramatically shadowed crossing of Judith's arms connects to the manner and style of Simon Vouet's Temptation of St. Francis, along with the theme of sexual power. Judith’s perceived power is illusory, and her image of ‘a woman with a borrowed sword’ serves only to shame the Israelites’ enemies even further. It is the candle to the left of the painting that provides this lighting, meaning the opposing sides of each figure are dimmed substantially. - 100% hand painted oil painting on artist grade. "Artemisia in Her Father's House". Artemisia and her contemporaries capitalized on this popularity, frequently portraying not only the moment of the beheading itself, but also the moment right after it, when Judith and her maidservant escape from the enemy camp. [5], The notion of Judith's attempt at seducing Holofernes was not something the early Christian Church deemed appropriate. [5] A prime example of this is Michelangelo's pendentive of Judith in the Sistine Chapel. This sculpture is a young boy who seemed to have killed two geese. [9], In her book, Artemisia Gentileschi: The Image of the Female Hero in Italian Baroque Art, art historian Mary D. Garrard notes that Gentileschi's depiction of female figures places them in a more heroic lighting. Judith and her Maidservant. [2], This painting is attributed to Artemisia due to her adoption of Caravaggesque technique and composition. In the original tale, the maidservant would actually be outside, ensuring that Judith is not interrupted in her plan but Gentileschi would bring her into this series of paintings and give her very much a hands-on tole in proceedings. It was then purchased by Leslie H. Green in the same year of 1952 and gifted to the Detroit Institute of Arts in Michigan. [5] Mythological symbols have been implemented in the decoration of Judith's armor, referencing the female war/hunting figures of Artemis, Athena and the Amazons. [1] Holofernes' attraction to Judith, which ultimately leads to a calamitous case of deception and violence, almost mirrors the events of Gentileschi's own life. Huge collection, amazing choice, 100+ million high quality, affordable … Judith and her Maidservant, Artemisia Gentileschi. Once upon a time in Florence, the subject stood for the city's proud republicanism. PMID: 27637671 [Indexed for MEDLINE] Publication Types: Historical Article; Letter; MeSH terms . Most reside in Europe, particularly Italy, Germany and the UK. It hangs in the Pitti Palace, Florence. Dixon, Susan M.; Cavazzini, Patrizia (2008). [1] The explicit nature of the artist's interpretation has led writers to believe that there is a deeper meaning behind Artemisia's Judith, drawing back to the rape trial against Agostino Tassi. [5], Women depicted in these biblical times traditionally wore sandals or were barefoot, as opposed to Judith's attire in this painting. 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