Page 73 - The Documenta issue of World of Art magazine (2002)

1431 (perhaps at Isola di Carturo, between Renaissance represented the Israelite widow. Caravaggio’s Judith Beheading Holofernes
Vincenza and Padua) Andrea became the Minor alternations occurred with Judith (1598) demonstrates the darker side of the
apprentice and adopted son of the painter and Holofernes in the Renaissance period. synopsis-the widow in the act of decapitating
Francesco Squarcione of Padua. He acquired Judith emerges as a Classical figure with a Holofernes inside his tent with blood
an enthusiastic zeal for Classical antiquity. slim physique, an emotionless expression, spouting from his severed neck.
The impact of ancient Roman sculpture and the task accomplished with minimal The backdrop is a sequence of crimson
and Donatello is obvious in Mantegna’s or no evidence of bloodshed. A traditional drapery and shadows. Caravaggio
execution of the human figure. His characters pattern follows this story; the two females discourages the spectator’s gaze to
were recognizable for their anatomical are never placed in a tent environment nor wander from the event. His manipulation
correctness, expressiveness, and solidity. shown in the midst of beheading Holofernes. of strong light and sombre palette creates
Mantegna’s principal works in Padua were It was not until the Baroque era that an unsettling and ambiguous space, which
chiefly religious and his first success was Judith and Holofernes were presented heightens the drama. Interestingly, Abra is
a frescoe series on the lives of Saint James in more violent visual terms. Caravaggio elderly and not youthful as the Renaissance
and Saint Christopher in the ovetari Chapel (Michaelangelo Merisi) was an Italian artists painted her. This may be a contrast
of the Church of the Ermitani (1456). In 1459, Baroque painter whose revolutionary factor on Caravaggio’s part for the viewers
Andrea journeyed to Mantua to become technique of drama and illumination of to easily pinpoint Judith and her servant.
a court painter form out of deep shadows, became a The Israelite widow is not as slim and her
to the Gonzaga label of Baroque painting. Discarding the face shows a hint of hatred as she grasps
family and traditional interpretation of religious subjects, Holofernes’ by the hair. Nevertheless,
turned to secular Caravaggio took his models from the streets Caravaggio approached the tale with
and allegorical and illustrated the individuals realistically. His violence.
subjects. His most three canvases of Saint Matthew (1587-1602), Thereafter, other Baroque artists adapted
distinguished The Supper at Emmaus (1601-1602), and this Caravaggesque tour-de-force mode.
masterpiece was The Death of the Virgin (1605-1606) caused a Artemesia Gentileschi took a step further
another frescoe sensation due to their theatrical flair. in her version. Artemesia, the daughter of
series for the Michaelangelo Merisi was the son of orazio Gentileschi (1563-1639) lived a life of
Camera degli Fermo Merisi, a steward and architect for independence. Born in Rome, she worked
Sposi (1465-1474) the Marquis of Caravaggio. orphaned at the mainly there and in Florence, until she
of the Palazzo Ducale. JuDITH BEHEADING age of eleven, Caravaggio was apprenticed to settled in Naples (1630). Artmesia’s powerful
In these works, HoLoFERNES painter Simone Peterzano of Milan. style is totally different to that of her father
1611-1612
Mantegna enhanced ARTEMESIA GENTILESCHI Between 1588 and 1592, Caravaggio is seen in her prestigious painting of Judith
the art of illusionistic oIL oN CANVAS traveled to Rome and settled into the Beheading Holofernes (1611-1612). It’s
perspective and thus, cosmopolitan society of Camp Marzio. vicious content has led filmakers, novelists,
became an important The shabby neighbourhood of inns, eating and amateur psychologists to make a link
element of Baroque and Rococo art. houses, temporary shelter, and little between it and events in her life. According
Andrea Mantegna’s Judith and Holofernes picture shops suited his circumstances and to the transcript of a trial in Rome in 1612,
(1495) broaches the topic in a distinctive temperment. Caravaggio was completely Agostino Tassi, her father’s partner, raped
manner. The episode takes place after the without financial assistance and he had a Gentileschi. orazio took Tassi to court. After
deed is completed and the two women are penchant for anarchy and rebelling against eight months of testimony and doubts about
outside of Holofernes’ tent. tradition. He moved from one unsatisfactory Artemesia’s statement, Gentileschi and her
Mantegna treats these two figures as place of employment to another. Finally, in father won the case. Contemporary scholars
taking part in a realistic setting and not 1595 the artist began to sell his own pictures theorize that Judith Beheading Holofernes is
simply flat portraitures applied to the canvas. through dealers. It was Maestro Valentino an insinuation of Gentileschi settling personal
Andrea adds a mysterious tone to Judith who brought Caravaggio’s works to the scores or exhibiting her anger toward
when she looks over her shoulder to see attention of Cardinal Francesco del Monte, a Agostino. The fact that she painted at least
if any of the soldiers had witnessed the prelate on the papal court. Subsequently, the five more versions
murderous act. painter was invited to reside in the house of of this story makes
The Netherlandish painter Jan Sanders van the cardinal. Caravaggio painted forty works this claim even
Hemessen bestowed physical prowess and under del Monte’s patronage. more credible.
intensity to Judith. Van Hemessen is an artist Ill luck and fiery temperment led Here, Artemesia
of genre scenes and portraits. The biography Caravaggio in 1600 to be accused by a has adopted the
of his life is obscure. fellow painter for assault and within the Caravaggesque
Nonetheless, Jan is reputed to have been same year wounded a soldier. In 1603 style of black
Master of the Antwerp Guild in 1524 and he was imprisoned on the complaint of background and
relocated to Haarlem where he died in 1550. another painter and released through the intense light.
His canvases illustrate popular proverbs, intercession of the French Ambassador. once Instead of the
religious parables, and satirical portraits. Jan again, Caravaggio was accused of throwing blood spouting
Sanders van Hemessen is connected with artichokes in the face of a waiter in April JuDITH like a fountain in
Quentin Massys and Marius van Reymerswale 1604. A year later in May 1605 the artist was 1540 four cardinal
as part of the founders of Flemish genre seized on the grounds of misuse of arms and JAN SANDERS VAN directions, the gore
HEMESSEN
painting. Van Hemessen’s Judith (1540) is set in May 29, 1606, again in Rome, Caravaggio oIL oN CANVAS courses down the
against a stark black background, Holofernes’ killed Ranuccio Tomassoni over a disputed white sheets as an
head is partially visible on the left corner of score in a game of tennis. athletically-built
the frame, and the light descends directly on He relocated to Naples in 1609 and at the Judith slays Holofernes and Abra pushes the
a colossal naked Judith with rippling muscles door of an inn was attacked and wounded. victim down with all her weight.
and swinging the fatal weapon over her head. Thence, Caravaggio returned to Rome in 1610 The point of Baroque art is to become
This is the only work of art in which and was arrested for the murder of Ranuccio emotionally involved in the event and to
Judith is presented as a robust female and Tomassoni. Apparently, he remained at imagine what is next to come.
unclothed. Jan quite possibly attempted Port’Ercole, a Spainsh possession within the Conclusively, the metamorphosis of Judith
to exhibit her strength. After all, it is not Papal States, and died there a few days later and Holofernes in Renaissance and Baroque
humanly conceivable for a tiny, delicate of pneummonia. A document granting him art is unique. Judith became a legendary,
female to lift a heavy broadsword and slice clemency arrived from Rome three days after Renaissance civic heroine to a determined,
another’s head off as a majority of the Italian his death. Baroque woman bent on deliverance.

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