Leading Ladies: Judith and Maidservant with the Head of Holofernes

Gentileschi
Leading Ladies
Strong Women in Art
Curated by Katie Sloan

Artemisia Gentileschi, Judith and Maidservant with the Head of Holofernes, 1625

Artemisia Gentileschi was one of the most renowned painters of her time after Caravaggio. And she was a woman. Female painters weren't usually accepted by the art community during this time period. However, Gentileschi became part of the Accedemia di Arte del Disegno in Florence. She was the firt female painter to be invited to the Accedemia. Gentilechi's subjects in her paintings are usually strong and suffering women. She sought to tell their stories since she was also a strong woman, striving to make her name in art while being held back because of her gender. Gentileschi's skills as a painter are unquestionable. Her subjects are life-like and the detail is amazing. Especially in the drapery, one can see in this painting in the subject's clothes and the curtain above their heads. 

The story of Judith is exactly something that Gentileschi would like to paint. Holofernes went to Judith's house and told her they were to be married. When she refused the not-so-proposing proposal, he proceeded to rape her. Judith took the case to court and Holofernes was found guilty but with no consequences for his actions. Judith took justice into her own hands and snuck into Holofernes' tent with her maidservant, where they beheaded him. Judith makes herself a vigilante, seeking her own justice for a crime committed against her. The darkness of the painting contrasts the figures bright colors  of the skin and clothes, making their action central to their action. 

Gentileschi and Judith both take initiative in their lives to make them leading ladies in art. Not only is the artist Gentileschi a leading lady by becoming the first female painter to have tremendous success as an artist, but the content within her paintings like this one clearly demonstrate women with strong ambitions ready to take the lead and shine in art. 

  • 7:00 PM

Judith Slaying Holofernes

Gabbi Fenaroli



Artemisia Gentileschi, Judith Slaying Holofernes, 1612
I feel it. Can you? The eyes of judging viewers, neither alleviating nor sympathizing with her pain, allowing her assault to go on well beyond the confines of her rape. A public trial that ends in a deep seeded hatred of men, with just cause, of course. Artemisia Gentileschi paints her version of Judith Slaying Holofernes in 1612, and the hate she feels for her rapist and all men radiates through. While one admires the virtuosity and sheer magnificence of the painting, with its rich flesh tones and flowing fabrics of crimson and gold, the horror and brutality can not be overlooked.

Gentileschi was a woman unlike any other in the era of Italian Baroque. She grew up under the watchful eye of her painter father who encouraged and cultivated her talent. Then in 1611 her father began working with Agostino Tassi to decorate the vaults of Casino della Rosa inside the Pallavinci Rospigliosi Palace in Rome. He liked the work that Tassi was doing, so he hired the painter to tutor his daughter. Behind the closed doors of the painter's studio, Tassi raped Gentileschi with the help of Cosmio Quorlis. Her father then pressed charges against Tassi,which resulted in a seven month trial in which Gentileschi was given a gynecological examination and was tortured using thumbscrews. Tassi was eventually sentenced to a year in jail, although he never served the time.
Detail Judith Slaying Holofernes

The narrative unfolds in front of the viewer as a drunken man becomes witness to his own murder as his eyes are pried open by the jolting pain. The woman, whose arms represent purpose and strength, knows exactly what it takes to save her town from an invading army. The most visually dramatic feature of the panting is the blood splattering from Holofernes severed throat.

It comes as no surprise that this painting manifests itself right after Gentileschi’s rape and public humiliation. The cold demeanor of Judith and the uncanny resemblance to Gentileschi supports the claim that she is painting what she would like to do to her attackers. 

  • 7:00 AM