Judith kills Holofernes (유디트가 홀로페르니스를 죽이다)

 

 

 

 

8. 힘을 다하여 그의 목덜미를 두 번 내리쳐서 머리를 잘라 내었다.

9. 그러고 나서 그의 몸뚱이를 침상에서 굴려 버리고, 닫집을 기둥에서 뽑아 내렸다. 잠시 뒤에 유딧은 밖으로 나가 홀로헤르메스의 머리를 자기 시녀에게 넘겼다.

8 And she smote twice upon his neck with all her might, and she took away his head from him.

9 And tumbled his body down from the bed, and pulled down the canopy from the pillars; and anon after she went forth, and gave Holofernes his head to her maid;

 

 

 

 

 

Rembrandt Harmensz. van Rijn 1606 – 1669

Judith Beheading Holofernes

pen drawing (18 × 15 cm) — c. 1653

  Museo di Capodimonte, Naples

Rembrandt Harmensz. van Rijn biography

 

This work is linked to Judith 13:8

 

The story of the brave Judith was very popular in Rembrandt's days, never mind it being regarded apocryphal by the church authorities. Most artists chose to depict the moment the head was put into the sack (as Rembrandt did in 1635), but here we are witness to the moment suprème.

Judith's town Bethulia is being besieged by the Assyrian warlord Holophernes and Judith decides the moment has come to end her people's suffering. She manages to get into Holophernes' tent by deceiving the Assyrians and cuts off his head with his own sword.

 

 

 

 

 

Francisco Goya 1746 – 1828

Judith and Holofernes

mixed technique on wall (146 × 84 cm) — 1821-1823

  Museo del Prado, Madrid

Francisco Goya biography

 

This work is linked to Judith 13:9

 

Judith raises the sword to kill the enemy warlord Holofernes. The sword is Holofernes' own sword. Her maid looks on.

Goya was already in his seventies when he painted this episode on a wall of his farm "la Quinta del Sordo", "deaf man's farm". The name referred to a previous owner and not to Goya, who also was deaf.

It was part of a series of fourteen dark paintings that the artist made in complete artistic liberty, not under pressure of any commission.

In 1873 the paintings were transfered to canvas. In the process much of the paint was damaged

 

 

 

Artemisia Gentileschi 1593 – 1656

Judith Beheading Holofernes (Uffizi)

oil on canvas (199 × 162 cm) — c. 1620

Galleria degli Uffizi, Florence

Artemisia Gentileschi biography

 

This work is linked to Judith 13:9

 

This is Gentileschi's second take on the subject. The composition is almost similar to that of her 1612 version. Here too the many arms, Judith's cool concentration, and the struggling Holofernes who is kept down by Judith's maid.

The main difference is that this painting is even more gruesome, because of the blood spurting from Holofernes's neck.

 

 

 

 

Artemisia Gentileschi 1593 – 1656

Judith Beheading Holofernes (Naples)

oil on canvas (159 × 125 cm) — 1612

  Museo di Capodimonte, Naples

Artemisia Gentileschi biography

 

This work is linked to Judith 13:8

Please scroll down to read more information about this work.

 

The widow Judith and her maid have lured the enemy warlord Holofernes into letting them into his tent. While he sleeps Judith decapitates him. That would start a chain of events leading to the end of the siege of Judith's city.

Gentileschi made a very realistic and therefor bloody depiction of the scene.

It is a pretty composition. There is a nice triangle of figures, joined by their arms.

Judith's pose is somewhat similar to the one in Caravaggio's version of Judith and Holofernes (1599). It is not unlikely that the young Gentileschi saw that painting in Rome.

 

 

 

 

Jan de Bray 1627 – 1697

Judith kills Holofernes

oil on canvas (40 × 32 cm) — 1659

  Rijksmuseum, Amsterdam

Jan de Bray biography

 

This work is linked to Judith 13:8

Judith raises the sword to kill the enemy war lord Holofernes. Next to her is her maid.

 

 

 

 

Caravaggio 1573 – 1610

Judith Beheading Holofernes

oil on canvas (145 × 195 cm) — ca. 1599

Palazzo Barberini, Galleria Nazionale d'Arte Antica, Rome

Caravaggio biography

 

This work is linked to Judith 13:8

 

Clearly and harshly drawn figures characterize this gruesome scene. The servant holds the bag as Judith cuts off the head of Holophernes, the leader of the enemy troops.

In an earlier version, Judith's breasts were visible. Caravaggio later added the blouse.

Caravaggio made several other paintings showing decapitations.