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Hace 3 días · Footnote 15 Artemisia shows Judith sawing through Holofernes’ neck with the strength and skill of a butcher while her maidservant forcefully holds him down. The focus of Caravaggio’s painting is the panicked Holofernes’ face, and Judith herself seems hardly up to the task—she is timid and unsure of what she’s doing and she exerts no force in the act.
Hace 1 día · Crusie’s Guide to Art 7. Detail of Judith Beheading Holofernes, 1599 by Caravaggio. If you want to do a deeper dive on this subject, check out Artemisia Gentileschi’s Judith. I liked this one for humor because Judith just looks annoyed, but Gentileschi’s Judith got help and went to work and she is furious. It’s wonderful, particularly ...
Hace 1 día · Artemisia Gentileschi’s work “Judith Slaying Holofernes” speaks for her: the painting shows the dramatic talent, vivid colors, and powerful emotions that define her art. Moreover, with Gentileschi, the women she portrayed were always the protagonists, a true innovation for her time.
Hace 2 días · Here’s Artemisia Gentileschi’s Judith Slaying Holofernes: the influence of Caravaggio and her fury as a victim of sexual abuse make this one of the most savage paintings in Western art. I’ve visited chapels in Rome and Naples where Caravaggios’ have hung since the day he delivered them and made excursions to Sicily and Malta to see work he did while there.
Hace 19 horas · Scenes depicting conflict, triumph, and heroism were prevalent, reflecting the political and social turmoil of the time. Some notable Baroque artists such as Caravaggio, Gian Lorenzo Bernini, and Peter Paul Rubens, employed these techniques to create visually captivating and emotionally compelling artworks.
Hace 19 horas · The Calling of St Matthew; by Caravaggio; c.1602–1604; oil on canvas; 3 x 2 m; San Luigi dei Francesi, Rome Judith Slaying Holofernes ; by Artemisia Gentileschi ; 1611–1612; oil on canvas; 163 x 126 cm; Uffizi , Florence , Italy [107]
Hace 1 día · An artist found Liss’ Judith in the Tent of Holofernes to be “problematic” in terms of “whiteness” and “blackness”, and a critic referred to “deconstructing” works and viewing them in “a safe space”. You don’t deconstruct paintings. You admire them and grow to love them. As for safe spaces, the National Gallery’s ...
