In , when she was 17, he was accused of raping her. A trial ensued lasting more than six months, during which Artemisia — not Tassi — was tortured under questioning: she was forced to endure the sibille — ropes tightened around her fingers, like the wedding ring Tassi had promised her, she claimed sarcastically. He was cleared of the allegations and Artemisia left Rome, with the shadow of shame and dishonour hanging over her, to travel throughout Italy, mastering her prodigious skills.
She would seek revenge on this patriarchal culture in the only way she knew: through her art. Judith and Maidservant with the Head of Holofernes is the least blood-soaked and violent, though perhaps the most furtive, of the four compositions she created on this theme. The crescent, the symbol of Artemis, patron and protector of young girls, which Artemisia used repeatedly, is all that remains clearly visible of the head of the richly draped Judith, who is never depicted without a weapon memories of Caravaggio, perhaps?
She, like Artemisia, is wary of the predations of men. But the masterstroke of this particular composition is the complicity of her maidservant Abra, who stuffs the grimly green head of Holofernes into the bag as the pair seek their escape from the Assyrian enemy.
Caravaggio, Calling of Saint Matthew. Practice: Caravaggio, Calling of St. Caravaggio, The Conversion of St. Paul or The Conversion of Saul. Caravaggio, Crucifixion of Saint Peter. Caravaggio, Supper at Emmaus. Caravaggio, Saint John the Baptist in the Wilderness. Caravaggio, Death of the Virgin. Caravaggio and Caravaggisti in 17th-Century Europe. Gentileschi, Judith Slaying Holofernes. Gentileschi, Judith and Holofernes. The Bible tells us that the King of Nineveh, Nebuchadnezzar, sent his general, Holofernes, to subdue his enemies, the Jews.
The Jews are besieged in Bethulia and rapidly lose all hope of victory. Famine further undermines their courage and they begin considering surrender. Judith, whose name means "lady Jew" or "Jewish woman" , was a strikingly beautiful widow. She overhears plans for surrender and decides to "deliver the city".
She creeps into the Assyrian camp, seduces Holofernes with her captivating beauty, waits until he is thoroughly drunk, and cuts off his head.
She returns to her people victorious, holding up the severed head as a trophy. The Jews regain their courage, raid the Assyrian camp and drive the enemy away. Judith and Holofernes was commissioned by Cosimo de Medici to stand beside fellow tyrant-slayer David another of Dontaello's works in the garden of the Medici palace.
It appears that independence and freedom from oppression were favorite artistic themes among the Medicis, one of the wealthiest and most famous families in all of Tuscany and the chief defenders of Florentine liberty. It is said that the statues' pedestal was once inscribed with; "Kingdoms fall through luxury, cities rise through virtues. Behold the neck of pride severed by the hand of humility".
Another inscription is said to have read; "The salvation of the state. Piero de Medici son of Cosimo dedicated this statue of a woman both to liberty and to fortitude , whereby the citizens with unvanquished and constant heart might return to the republic. The statue of Judith and Holofernes was commissioned by Cosimo de Medici who, as leader of Florence's foremost family had a vested interest in presenting at all times an appearance of unity and freedom.
Artwork was a particularly easy way to do that. Cosimo's lifelong friendship with Donatello meant that the artist was always at the patron's beck and call; throughout his life Donatello produced numerous works for Cosimo and the Medici family palace. The struggle with and victory over tyranny and oppression were common themes in several of the works that Donatello completed for the Medici family.
Judith and Holofernes is one such work. It depicts Judith, an admirably courageous Jewish woman, cutting off the head of a foreign general who had been ordered to conquer the Jews. She was only a common, simple widow woman, but she defeated a powerful general.
This was perhaps meant to be metaphorical for the people of Florence: no matter how great or fearsome the enemy, even the smallest and weakest member of the resistance can make a difference. Judith herself is still considered an immortal symbol of peace, liberty, virtue, and victory over the strong by the weak. Tone elicited: The overwhelming tone of the statue is one of strength, fearlessness and power.
Judith stands triumphant over the slain Holofernes, a sword in her right hand raised over her shoulder as if about to strike once more. The expression on her face is cold and defiant. The crumpled body of Holofernes lies at her feet; she holds his disembodied head by the hair and looks out victorious into the world.
Method: It is believed that Judith and Holofernes was originally gilded coated with gold ; thus, its original shine, combined with the statue's emotional power, was probably stunning. The bronze for the statue was cast in eleven parts to make the gilding easier. The sculpture was crafted in the round and has four distinct faces, providing the viewer with degrees of intensely inspiring sculpture.
Attention to detail: As with virtually all of his other works, Donatello focused on naturalism in Judith and Holofernes. The base of the sculpture, for example, is cushion-like and reminiscent of a similar device used in Donatello's St. Mark in the Orsanmichele. Judith's clothes are realistically mussed; there is a slightly wild look about her and her clothes fall naturally in folds along her raised arm. The body of Holofernes has been ingeniously crafted to perfectly resemble the ragdoll-like nature of the recently dead: the arm dangles unnaturally and the mouth is agape.
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