It depicts the biblical character of Judith holding the severed head of Holofernes. [11] She revels in her power and sexuality—so much so that critics mislabeled Klimt's Judith as Salome, the title character from Oscar Wilde’s 1891 tragedy. As an example of virtue overcoming vice, the subject was quite popular among Old Masters, a typical example is Judith Beheading Holofernes by Caravaggio . Judith I shares elements of its composition and symbolism with The Sin by Franz Stuck:[7] the temptation illustrated by the German painter becomes the model for Klimt's femme fatale by suggesting the posture of the disrobed and evanescent body as focal piece of the canvas, as well as the facial set. Judith and the Head of Holofernes (also known as Judith I, German: Judith und Holofernes) [1] is an oil painting by Gustav Klimt created in 1901. A tale of female revenge, power and solidarity. Judith's face exudes a mixed charge of voluptuousness and perversion. Mysterious forces seem to be slumbering within this enticing female". Loggy and Alex’s friendship in Miami’s redeveloping Liberty Square is threatened when Loggy learns that Alex is being relocated to another community. When Klimt tackled the biblical theme of Judith, the historical course of art had already codified its main interpretation and preferred representation. [4], Klimt deliberately ignores any narrative reference whatsoever, and concentrates his pictorial rendering solely on to Judith, so much so that he cuts off Holofernes' head at the right margin. She would seek revenge on this patriarchal culture in the only way she knew: through her art. The crumpled body of Holofernes lies at her feet; she holds his disembodied head … Franz A. J. Szabo describes it best as a, “[symbol of] triumph of the erotic feminine principle over the aggressive masculine one.” Her half-closed gaze, which also ties into an expression of pleasure, directly confronts the viewer of all this. This is a part of the Wikipedia article used under the Creative Commons Attribution-Sharealike 3.0 Unported License (CC-BY-SA). 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. 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. El Beso (Los Enamorados) de Gustav Klimt. Artemisia was then given lessons by another artist, another friend of her well-connected father, highly regarded in his day, Agostino Tassi. It depicts the biblical character of Judith holding the severed head of Holofernes. 1556332. Other representations have depicted th… In fact, many paintings exist, describing the episode in a heroic manner, especially expressing Judith's courage and her virtuous nature. Although Judith had typically been interpreted as the pious widow simply fulfilling a higher duty, in Judith I she is a paradigm of the femme fatale Klimt repeatedly portrayed in his work. When Artemisia was 13, the turbulent Caravaggio, her greatest and most enduring artistic influence, had to flee Rome, having stabbed a man to death in a brawl: Caravaggio, a man of the streets and alleys and a connoisseur of low life, always carried a dagger. She, like Artemisia, is wary of the predations of men. And there is no trace of bloodied sword, as if the heroine would have used a different weapon: an omission that legitimates association with Salome. In 1612, when she was 17, he was accused of raping her. 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?). Aged 12, her father widowed, she became the matriarch of the family. Judith I reveals a curious symbolic and compositional consonance with The Sin by Franz Stuck: the temptation illustrated by the German painter becomes the model for Klimt's femme fatale by suggesting the posture of the disrobed and evanescent body as focal piece of the canvas, as well as the facial set. Franz A. J. Szabo describes it best as a "[symbol of] triumph of the erotic feminine principle over the aggressive masculine one". When Klimt tackles the biblical theme of Judith, the historical course of art has already codified its main interpretation and preferential representation. Her half-closed gaze, which also ties into an expression of pleasure, directly confronts the viewer of all this. To stress and re-emphasize that the woman was actually Judith and not Salome he had his brother, Georg, make the metal frame for him with "Judith and Holofernes" engraved on it. Notwithstanding the alteration of features, one can recognise Klimt's friend (and, possibly, lover), Viennese socialite, Adele Bloch-Bauer, the subject of another two portraits respectively done in 1907 and 1912, and also painted in the Pallas Athena. Judith appears as God's instrument of salvation, but the violence of her action cannot be denied and is dramatically shown in Caravaggio's rendering, as well as those of Gentileschi and Bigot. It depicts the biblical character of Judith holding the severed head of Holofernes. The contrast between the black hair and the golden luminosity of the background enhance elegance and exaltation. Holofernes occupied all the countries along the sea coast and destroyed all their gods, so that they would worship Nebuchadnezzar alone. 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. But Tassi’s friends in high papal places pulled strings. 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. The nymphs were also associated with a group of young women who were found to be violent in nature. The moment preceding the killing — the seduction of Nebuchadnezzar's general — seems to coalesce with the conclusive part of the story. [10] Her disheveled dark green, semi-sheer garment, giving the viewer a view of nearly bare torso, alludes to the fact that Judith beguiled the general Holofernes before decapitating him. In 1903, author and critic Felix Salten describes Judith's expression as one "with a sultry fire in her dark glances, cruelty in the lines of her mouth, and nostrils trembling with passion. Artemisia knew all too well that if women are to make a mark on this unjust world, they must do so together. Judith was the biblical heroine who seduced and then decapitated General Holofernes in order to save her home city of Bethulia from destruction by the enemy, the Assyrian army. The expression on her face is cold and defiant. The full text of the article is here →, {{$parent.$parent.validationModel['duplicate']}}, Ostrava Fine Ars Gallery, Ostrava, Czech Republic, en.wikipedia.org/wiki/Judith_and_the_Head_of_Holofernes, 1-{{getCurrentCount()}} out of {{getTotalCount()}}, https://en.wikipedia.org/wiki/Judith_and_the_Head_of_Holofernes, The Beethoven Frieze: The Hostile Powers. Klimt deliberately ignores any narrative reference whatsoever, and concentrates his pictorial rendering solely on to Judith, so much so that he cuts off Holofernes' head at the right margin. In its formal qualities, the first version illustrates a heroine with the archetypal features of the bewitching and charming ladies described by symbolist artists and writers such as Wilde, Vasnetsov, Moreau, and others. His victim had links to the papal court. Judith was the biblical heroine who seduced and then decapitated General Holofernes in order to save her home city of Bethulia from destruction by the Assyrian army. She and her maid look similar to the young nymphs that are often found in this era of painting. The fashionable hairdo is emphasized by the stylised motifs of the trees fanning on the sides. The fashionable hairdo is emphasized by the stylised motifs of the trees fanning on the sides. When Klimt tackles the biblical theme of Judith, the historical course of art has already codified its main interpretation and preferential representation. Judith appears as God's instrument of salvation, but the violence of her action cannot be denied and is dramatically shown in Caravaggio's rendering,[2] as well as those of Gentileschi and Bigot. Nagorno-Karabakh’s Myth of Ancient Hatreds. In 1903, author and critic Felix Salten describes Judith’s expression as one “with a sultry fire in her dark glances, cruelty in the lines of her mouth, and nostrils trembling with passion. [5] The moment preceding the killing – the seduction of Nebuchadnezzar's general – seems to coalesce with the conclusive part of the story.[6]. The narrative is taken from the deuterocanonical Book of Judith, in which Judith seduces and then murders the general Holofernes. The contrast between the black hair and the golden luminosity of the background enhance elegance and exaltation. In the Return of Judith to Bethulia, Judith became the center of attention and their dominance was showed, too. The tale is told in the Old Testament Book of Judith. 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 art historian Letizia Treves judged that, with this work ‘Artemisia rightly takes her place among the leading artists of the Baroque’. [9] The slightly lifted head has a sense of pride, whereas her visage is languid and sensual, with parted lips in between defiance and seduction. This particular work, executed in about 1623 to 1625, now hangs in the Detroit Institute of Arts. They were an odd mixture of grace and yet had the potential to become violent indicated by thei… The nymphs were charming, young, girl-like figures that were often found to be the caretakers of fertility. Judith's face exudes a mixed charge of voluptuousness and perversion. Judith's force originates from the close-up and the solidity of posture, rendered by the orthogonal projection of lines: to the body's verticality (and that of Holofernes') corresponds the horizontal parallels in the lower margin: those of the arm, the shoulders joined by the collier, and finally the hair base. [3] Other representations have depicted the subsequent moment, when a dazed Judith holds Holofernes' severed head, as Moreau and Allori anticipate in their suggestive mythological paintings.

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