Page 72 - The Documenta issue of World of Art magazine (2002)

THe meTAmORPHOSiS

OF JUDiTH AnD

HOLOFeRneS

flowing robes brandishing a sword and holds
the severed head while the blood courses
down Holofernes’ mangled torso.
The smooth, delicate visage of Judith is
devoid of emotion and her stance is rigid as
compared to antique Roman art. In a sense,
the image of Judith itself can be likened
to the busts of Roman emperors and the
graceful female deities.
Giovanni della Robbia (1469-1529) another
sculptor presented Judith in a similar fashion
to Donatello. Giovanni was part of the Robbia
family, celebrated for their skill in sculpture
and ceramics, which prospered in Florence
for nearly 150 years. The terracotta figures of
tgp32001@yahoo.ca
Tamara PASzTOR
Giovanni della Robbia proved to be inferior
by
to his father Andrea della Robbia and uncle
Luca della Robbia.
Giovanni’s Judith (glazed terracotta)
imitates the Grecian Classical motif with
the ‘wet-look drapery’ and contraposto
JuDITH BEHEADING
HoLoFERNES posture. In this instance, Judith is holding the
1598 severed head in her right hand and in her left
CARAVAGGIo hand she raises her weapon. Giovanni della
oIL oN CANVAS
Robbia’s interpretation of the tale is almost
parallel to the myth of Perseus and Medusa.
he depiction of the Biblical heroine a bronze sculpture by Donatello. Donatello Consequently, the artistic rendition of
Judith underwent significant artistic (Donato di Niccolo di Betto Bardi) was Judith and Holofernes is directed more
Ttransformations during the Renaissance famed for his mastery in marble and bronze towards the Classical.The depiction of these
and Baroque eras. sculpture. Although, there is plenty of two characters underwent notable changes
The ghastly tale of Judith and Holofernes information based upon his biography and after the Renaissance and Baroque painters.
appears in the Book of Judith in the old profession, however, there is little evidence Sandro Botticelli (Alessandro di
Testament Apocrypha, perhaps written in the of Donatello’s personality. He never married Mariano Filipepi) is considered to be one
second century BC Holofernes, an Assyrian and appeared to be a man of simple tastes. of the leading painters of the Florentine
general of Nebuchadrezzar is about to lay Patrons often found the artist to possess a Renaissance. He perfected a highly personal
siege to Bethulia, the town where Judith an rebellious streak and demanded a measure style distinguished by his elegant execution,
Israelite widow resides. The citizens nearly of artistic freedom. Even though, Donatello strong emphasis on line, and details.
surrender when Judith decides to liberate was well acquainted with the Humanists, Botticelli was the son of a tanner and his
Bethulia from captivity. Accompanied by her he was not a cultured intellectual. His nickname is derived from Botticello [little
female servant Abra, the widow cunningly Humanist friends state that the sculptor was barrel] either from his elder brother or the
tells Holofernes that she will aid him in his a connoisseur of ancient art. The inscriptions name of goldsmith to whom Sandro was first
assault. and signatures of his works are among the apprenticed. Later, he apprenticed with the
one evening, the general invites Judith earliest examples of the revival of Classical painter Fra Filippo Lipi, worked with painter/
for dinner in his tent. overcome with lust, Roman lettering. engraver Antonio del Pollaiuolo, and became
Holofernes is driven to consume more Donato di Niccolo di Betto Bardi was influenced by Andrea del Verrocchio.
wine and eventually lies in an intoxicated the son of Niccolo di Betto Bardi, a Botticelli’s The Return of Judith to Bethulia
stupor. Seizing the moment, the widow Florentine wool carder. Between 1404 (1472) delineates Judith with blade in hand
decapitates the Assyrian and Abra places his and 1407 Donatello became a member fleeing back to her town and trailing behind
severed head in a sack. The two companions of the workshop of Lorenzo Ghiberti, a the widow is Abra balancing the sack that
venture back to Bethulia. When Holofernes’s bronze sculptor who in 1402 had won the contains the cleaved head of Holofernes
soldiers discover the truncated corpse of competition for the doors of the Florentine upon her head. The beautiful heroine
their general, the army retreats. Thus, Judith Baptistry. The bronze sculpture David, continues to possess an air of innocence and
rescued Bethulia. maintains a hint of the Ghibertian style melancholy. Her slim figure merely conveys
This specific grisly scene became a and the International Gothic, a style of soft gentleness and not physical strength.
standard portrayal of the narrative in art- curved lines strongly influenced by Northern Andrea Mantegna (1431-1506) is an
Judith beheading Holofernes. European art. expert in perspective and foreshortening.
The first known representation of Judith Donatello’s Judith and Holofernes (1455- Mantegna contributed to the compositional
and Holofernes in Italian Renaissance art is 1460) shows the youthful widow clad in technique of Renaissance painting. Born in

70 WORLD of ART