1) Artemisia Gentileschi (1593-1653), ‘Judith Slaying Holofernes’, 16202) A

1) Artemisia Gentileschi (1593-1653), ‘Judith Slaying Holofernes’, 16202) Artemisia Gentileschi (1593-1653), 'Judith Slaying Holofernes’, 1611–12“Many of Artemisia Gentileschi’s paintings are retellings of biblical stories from the women’s perspectives. “Judith Beheading Holofernes,” of which she painted two versions, is one such example. The first version, completed by 1612, is considered to be inspired by Caravaggio’s 1598 painting of the same subject and title. The second version was completed sometime between 1612 and 1622.“Source: http://mentalfloss.com/article/18414/feel-art-again-judith-beheading-holofernes“…whereas Caravaggio (above, left) pairs his delicate Judith with a haggard attendant who merely looks on, her eyes wide with disbelief, Artemisia depicts two strong, young women working in unison, their sleeves rolled up, their gazes focused, their grips firm. Caravaggio’s Judith gracefully recoils from her gruesome task; Artemisia’s Judith does not flinch. Instead, she braces herself on the bed, as she presses Holofernes’s head down with one hand and pulls a large sword through his neck with the other. The creases at her wrists clearly show the physical strength required. Holofernes struggles in vain, the thrust of his arms countered by the more forceful movement of Abra, Judith’s accomplice in this grisly act.”….“Artemisia’s unique portrayal of Judith and Abra has prompted scholars to argue that Artemisia identified with the protagonist of the story in a way her male counterparts did not. This association stems not only from their shared gender, but also from Artemisia’s own traumatic experience. Artemisia was raped at the age of 17 by the artist Agostino Tassi, a close friend of her father. When Tassi failed to marry her, as the social dictates of the time demanded, her father sought recourse in court. During the trial, Artemisia describes her struggle against Tassi and her attempt to attack him with a knife. She also recalls the sense of betrayal she felt when she realized her female chaperone had colluded with Tassi and arranged to leave the two alone. The first version of Judith Slaying Holofernes dates to this difficult period in the artist’s life. The memory of this event likely colored Artemisia’s engagement with the story of Judith. Especially significant is Artemisia’s portrayal of Abra as youthful, strong and fully engaged in the 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.”Source:  https://www.khanacademy.org/humanities/monarchy-enlightenment/baroque-art1/baroque-italy/a/gentileschi-judith-slaying-holofernes -- source link

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