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Caravaggio shows Holofernes holding the blood coming from his neck like a string. [7] Rather than making the scene of Holofernes's beheading more palatable for the viewers, Gentileschi differs by not holding back the gruesome imagery. Gentileschi also shows Judith putting her full efforts into the slaying, even by employing her maidservant. In ...
Artemisia Lomi or Artemisia Gentileschi (US: / ˌ dʒ ɛ n t i ˈ l ɛ s k i /; [1] [2] Italian: [arteˈmiːzja dʒentiˈleski]; 8 July 1593 – c. 1656) was an Italian Baroque painter. Gentileschi is considered among the most accomplished 17th-century artists, initially working in the style of Caravaggio. She was producing professional work by ...
Judith Beheading Holofernes is a painting of the biblical episode by Caravaggio, painted in c. 1598–1599 or 1602, [1] in which the widow Judith stayed with the Assyrian general Holofernes in his tent after a banquet then decapitated him after he passed out drunk. [2]
Caravaggio, born Michelangelo Merisi da Caravaggio (also Michele Angelo Merigi or Amerighi da Caravaggio; / ˌ k ær ə ˈ v æ dʒ i oʊ /, US: /-ˈ v ɑː dʒ (i) oʊ /; Italian: [mikeˈlandʒelo meˈriːzi da (k)karaˈvaddʒo]; 29 September 1571 [1] – 18 July 1610), was an Italian painter active in Rome for most of his artistic life.
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This similarity in theme and composition may have been due to the work of Michelangelo Merisi da Caravaggio, whose style so influenced the Gentileschi's. His famous depiction of Judith Beheading Holofernes from the late 16th century focused more on the conflict than previously seen. [4] Caravaggio's Judith Beheading Holofernes, c. 1598-99
[3] [8] In Artemisia Gentileschi's painting Judith Slaying Holofernes (Naples), she demonstrates her knowledge of the Caravaggio Judith Slaying Holofernes of 1612; like Caravaggio, she chooses to show the actual moment of the killing. [9] A different composition in the Pitti Palace in Florence shows a more traditional scene with the head in a ...
Much like her father, Gentileschi's style in the formative years of her career followed that of Caravaggio, mirroring his methods of dark shadows and overall execution. [3] The artist utilized dramatic forms of chiaroscuro, most notably across Judith's half-lit face, her hand shielding the glow of the candle.