Judith Slaying Holofernes by Artemisia Gentileschi (Interpretation and Analysis)

Judith Slaying Holofernes
Source: Wikimedia Commons

A few months ago, I discussed one of Caravaggio’s most famous paintings, Judith Beheading Holofernes. Judith—a biblical figure—has been a popular subject throughout the history of Western art, and there are probably thousands of paintings that portray Judith killing the general Holofernes in order to save her city from his army. The drama and violence (plus the opportunity to paint a beautiful woman) made the story appealing to artists, especially after the advent of the Renaissance period. All of these paintings contain roughly the same narrative elements and characters, but each artist brings their own perspective to the scene.

Artemisia Gentileschi—perhaps the most famous female painter of the Baroque period—took a particularly unique approach to the subject. Gentileschi lived an extraordinary and tragic life; I don’t want to talk about it too much here because I believe that discussion of the pain and abuse she endured often overshadows discussion of her art. I believe that Gentileschi should be recognized first and foremost as an artist of extraordinary talent; however, her life story is also well worth discussing, and you can read more about it here.

From an artistic perspective, Gentileschi was deeply influenced by Caravaggio (the acknowledged frontman of the Baroque movement). However, her Judith Slaying Holofernes far surpasses Caravaggio’s depiction of the same subject in fervor and ferocity. Gentileschi’s Judith is a woman with a great and terrible purpose. She holds Holofernes’ head with a grip of iron, pushing it down onto the bloody pillow. With her other hand, she holds the knife, deliberately severing Holofernes’ neck with horrifying precision. The focal point of the painting is her muscular forearms; they stretch diagonally across the painting, highlighting both her bodily and mental strength and iron-clad determination. It is impossible to grasp her emotional state. Her face, in contrast, is half in shadow, downplaying the feature that most other artists featured prominently in their depictions of Judith. Here, it is difficult to tell whether or not Judith is an attractive woman; her beauty, Gentileschi seems to imply, is beside the point. Instead, the painting revolves around the power that Judith wields. Judith holds life and death in her hands and appears to be fully aware of her own importance, dominating the scene with her cool confidence.

Caravaggio’s Judith Beheading Holofernes (although a masterpiece in its own right) seems tame and gentle in comparison, his Judith a delicate and demure young woman.

When examining these two paintings, it is clear that Gentileschi’s painting places a higher value on realism. Gentileschi emphasizes the true degree of force and physical strength required to sever a head (no mean task when you consider the muscles and bones involved). Her painting doesn’t skimp on the gore either. Judith Slaying Holofernes is dripping in blood, in contrast to the neater and more sterile paintings of Gentileschi’s contemporaries. However, realism is not necessarily the goal here.

Instead, Gentileschi seems to be striving for a degree of emotional authenticity. Her painting embraces Judith’s righteous rage, exploring her desire for revenge and her steely determination to protect her people. It is fair to say that— while the painting is dramatic without a doubt— Gentileschi’s Judith Slaying Holofernes is a psychological portrait, transcending sensationalism to cut to the heart of Judith’s story.

Disclaimer: I’m not an art historian or an expert on this topic. The above is my opinion, based on my interpretation of my foreknowledge of art and history. If I’ve done any additional research, I’ll note it above.