Judith vs. Holofernes: our pick of the best

Admittedly, the list of old testament biblical heroes that we look up to and aspire to be is not entirely exhaustive or indeed existent, but if such a list were to be realised, topping it would surely be the widowed heroine Judith. A denizen of a besieged Bethulia, Judith seduced the army general Holofernes with her radiant beauty before getting him drunk and decapitating him, claiming his head as her trophy. This act inspires her fellow townspeople who find renewed courage to expel the enemy.

Judith represents empowerment, unity and freedom from oppression and her story became popular to depict from Early Renaissance, through Mannerism and into Neoclassicism. We’ve whittled the hundreds of representations down to our seven favourites. She’s the baddest bitch in the bible. Slay like Judith? Your faves could never.

7. Caravaggio — Judith Beheading Holofernes (c. 1597).

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The rogue artist’s signature control over light and shade, chiaroscuro, creates a scene of intense drama, theatrically capturing the precise moment when Judith’s machete glides through an abruptly awoken Holofernes. There is merit in Caravaggio’s foreshortening of the general, whose writhing and contorted musculature brings dynamism to the canvas. Our heroine, on the other hand, appears static and a bit too effortless — Caravaggio could have done more justice to her actions and made her seem more confident in her ability. Her bust is brightly highlighted, referencing the female sexuality employed to disarm Holofernes.

6. Mantegna – Judith and Holofernes (c. 1475).

 

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In keeping with standards of religious art of the time, this particular representation from the end of the Early Renaissance period is decidedly more vanilla — a far cry from the passionate excesses of later centuries. Narratively speaking, Mantegna’s panel painting picks up where Caravaggio left off. Judith has her Holofernes to-go, handing the head to her loyal handmaiden who bags it up for transit back to Bethulia. Judith appears introspective, contemplative of her heroism perhaps, or maybe just fatigued — her broken sword suggesting Holofernes put up a fight.

5. Giorgione – Judith, (c. 1505).

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Giorgione, of the Venetian School of painting, moves away from Holofernes’ bedroom, setting the scene in an idyllic Northern Italian countryside, somewhat incongruous with the biblical telling of the story. We’re also disconcerted with how at peace and contented the head of Holofernes appears, beneath Judith’s foot. Once again, her appearance is heavily eroticised as a means of symbolising the ability of a woman to rob the virility of a man.

4. Riedel – Judith, (1840).

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Riedel’s portrait takes Judith out of a clearly defined time or place, allowing her to serve as an exemplar of virtue for men and women whenever and wherever. Standing proud after a job well done, all of her attributes are present, with Holofernes’ head just about visible. The treatment by the German Neoclassicist is one of the final classical depictions of Judith.

3. Titian – Judith With the Head of Holofernes, (c. 1570).

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Immediately recognisable as a Titian through the tone and brushwork (and overt sexualisation), this portrait of the triumphant Judith has many parallels with the artist’s most famous Magdalene of 1565, a similarly strong and admirable figure. Judith appears particularly pleased, and rightly so. Relegated to the shadows, Holofernes and Judith’s handmaiden are rendered peripheral — Judith and only Judith is central in this particular telling.

2. Boticelli – Return of Judith to Bethulia, (1467).

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Judith returns home a winner. As if a severed head precariously balanced atop her handmaiden wasn’t enough, she carries a palm branch in her left hand which signifies the peace and victory she has brought to her people. In the midground we see Holofernes’ troops fleeing the city as Judith literally and symbolically towers above them.

1. Gentileschi – Judith Slaying Holofernes, (c. 1620).

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This particular representation is especially important, it being the only one on the list created by a woman artist. Most woman artists of this period generally remain unwritten in art history books. It is made all the more poignant when one learns that the artist was raped by her male tutor just before this work was created. Some scholars have suggested that it is therefore autobiographical, an expression of rage towards men on the part of the artist. The previously mentioned Caravaggio is obvious source material here, but Gentileschi’s effort is far superior. As well as being more balanced in composition, it is unrelenting in its physicality and upon learning the personal history of the artist, it is transformed into something emotionally more powerful.

(Images via)

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