Judith Beheading Holofernes, oil painting created in 1620 by Italian artist Artemisia Gentileschi. This is one of the most vivid treatments of the scene, almost shocking in its violence and immediacy.
Gentileschi was trained by her father, Orazio Gentileschi, and by Agostino Tassi, a painter of landscapes and seascapes. This is her second version of the story in which, according to the apocryphal Book of Judith, Judith decapitated the drunken Assyrian general Holofernes, who was laying siege to her town, Bethulia. Later, she and her servant returned to Bethulia with his head.
Gentileschi deals with this subject in an astonishingly new and explicit manner. Although influenced by Caravaggio, her interpretation is far removed from his anodyne depiction of the subject. Limbs and blood radiate to and from the head making it the unavoidable focus in a semicircle of brilliantly lit action. In the story, Judith severed the head with two strokes, and there is no doubt that this muscular Judith is capable of such a feat. The rich Baroque gowns and the rendering of linen and skin show her skills at their best.
Such books as The Passion of Artemisia (2001) and the 1997 film Artemisia link this painting with Gentileschi’s biography, seeing in it her desire for revenge after being raped by Tassi and her subsequent torture during the trial. This tends to eclipse her real achievements as the first woman artist to be accepted into the Academy of Design in Florence and as one of the first to paint historical and religious subjects, then considered impossible for women to attempt. Though she was highly respected by patrons and fellow artists in life, on her death some publications referred to her notoriety rather than to her talent. It is only in the relatively recent past that she has been reinstated as one of the great painters of the Baroque period.