After the Renaissance Era Came the Successor known as the Baroque Era

     Artwork during the Baroque Era connects to emotions on a physical level. The contrasts of light and dark create an illusion that they are a part of our space. Moments that a painting seems to be real moments, whether they are in the middle of pouring a liquid or looking out of a window. During this era, the Medici family was still commissioning artwork. One of those artists is assumed to be Artemisia Gentileschi. The Medici family commissioned Donatello for the sculpture of Judith moving to cut off Holofernes' head.

Donatello, Judith and Holofernes, 1460, bronze, 236 cm high (Palazzo Vecchio, Florence).

    While it is not entirely sure, it is believed that they were interested in the story of Judith and Holofernes, which is why they are supposed to have commissioned Artemisia Gentileschi for her four paintings of this story from the Jewish. Bible, "The Uffizi Judith was likely either commissioned by or gifted to the Medici, Florence's ruling family" (Camara 2015). 

The story of Judith and her maidservant is about the Assyrian army's attempted siege of Bethulia, an Israelite city that conquered its way to Jerusalem. Judith is a widow who offers herself to the Assyrian army. There, she seduces General Holofernes, kills him with help from her maidservant, and brings his head back to Bethulia, ending the siege. 

Artemisia was a young painter, "Artemisia's paintings stand out for their theatricality—the raw emotional intensity of a few figures daringly arranged. The younger Gentileschi's work is also distinctive in its focus on powerful heroines, capturing their vulnerability and strength, a feature many attribute to events in Gentileschi's own life" (Art Institute of Chicago 2014). She is thought to have had an emotional connection with the story of Judith because she went through a similar ordeal where someone abandoned her during an essential time in her life. While making the series of Judith and Holofernes, she made several different versions, each one better than the last, and included parts of herself within the paintings. Some of those things were emotional parts that she included. "Significant is Artemisia's portrayal of Abra as youthful, strong, and fully engaged in assisting Judith, in striking contrast to the chaperone who purposefully abandoned Artemisia in her hour of need. In the Uffizi painting, Artemisia adds a small detail that supports her identification with Judith. One of the cameos on Judith's bracelet appears to depict Artemis, the ancient goddess of both chastity and the hunt" (Camara 2015).

Artemisia Gentileschi, Judith and Her Maidservant with the Head of Holofernes, c. 1623–25, oil on canvas, 187.2 x 142 cm (Detroit Institute of Arts).

    The painting "Judith and Her Maidservant with the Head of Holofernes" by Artemisia Gentileschi was created during 1623-1625 and is assumed to be painted in Italy. In the painting, a singular candle illuminates the figures within, casting shadows in places where the light does not reach. It makes it so that the focus is only on the table holding the candle and the two women rather than adding in the background, which can cause eyes to wander from the scene depicted. Judith can be seen holding a sword that still has blood dripping from it as the maidservant is putting Holofernes's head into a bag. The light only touches parts of Judith's face as she is assumed to be looking out a window while covering the light from the candle to see. If you look closely, her brows are scrunched in concentration and possibly even fear. Another important thing to note is how the light and positioning of the two women form a diagonal line, a noted part of the Baroque Era.

When looking at the painting, it is hard not to look closely. The painting is done beautifully, where the textures of skin, hair, and clothing can be seen, and how they feel can be imagined. If given the chance, this would be a painting inside my house. I could imagine it within the office where I keep the desk lamp on to work, and above, the light would illuminate the painting. It is truly an incredible work of art that needs to be appreciated for the talents of the painter and the story it depicts. 

Bibliography

Dr. Esperança Camara, "Artemisia Gentileschi, Judith Slaying Holofernes," in Smarthistory, July 19, 2015, https://smarthistory.org/gentileschi-judith-slaying-holofernes/.

"Violence and Virtue: Artemisia Gentileschi’s 'Judith Slaying Holofernes.'" The Art Institute of      Chicago, January 9, 2014, www.artic.edu/exhibition/violence-and-virtue-artemisia-gentileschi-s-     judith-slaying-holofernes.