Judgment of Judith

Women in art have been viewed through a limited number of ideological commitments as conceived by men. Like some themes exist throughout art history, Judith from the Old Testament Apocrypha is a female icon of heroism that has adapted these limited views of women. With the exception of some contemporary pieces, male artists who depict Judith and Holofernes view female heroism through her sexuality; is she chaste or a femme fatale? This obsession with the state of female sexuality is documented through years of depictions of Judith and her triumph over Holofernes. Artemisia Gentileschi, the first woman to craft a reputation for herself as an artist, portrays Judith rather differently than her male counterparts because she recognizes that it is not a sexual narrative. Gentileschi draws attention to the heroism of Judith’s audacious act that necessitated the slaughter of Holofernes in order to scatter the Assyrian army camped outside a Jewish city. Gentileschi neither sexualizes Judith into an erotic temptress nor does she attempt to prove her chastity for the sake of societal expectations. Her Judith is a dignified and determined character who acts without concern of the male gaze obsessing over the state of her sexuality. A rich visual archive has explored Judith as both a heroine who is a sexualized seductress and as a virtuous savior, with the exception of a few artists, like Gentileschi, who simply honored her act of heroism for what it was: the slaying of a tyrant.

Caravaggio, Judith Beheading Holofernes, c. 1598-1599, Oil on canvas, 145 x 195 cm, Galleria Nazionale d’Arte Antica

            Everything about Caravaggio’s conceptualization of Judith as a heroine is contained, except for the content. This fragment of a narrative shows Judith as the picture of young innocence, socially acceptable as a heroine because she stays within the bounds of her chastity. Several prominent indicators point to Judith’s moral uprightness, such as the white of her dress and the presence of the wizened maidservant. The white as a traditional symbol of sexual purity and the chaperoning authority of the hag offer a defense for Judith’s chaste intentions. The main concern of this painting was to capture a neutralized, perfectly staged Judith that softens the event of her slaughtering a man with the apparent disinterest of a veteran butcher.

Gustav Klimt, Judith, 1901, Oil and gold plating on canvas, 84 x 42 cm, Belvedere, Vienna

            This postproduction of Judith beheading Holfernes is charged with sexual connotation that borders on the erotic. Gustav Klimt renders his Judith as a sultry murderess who unnerves the viewer with her satisfied and slightly vacant gaze. As the viewer’s eyes travel down her body, they rest on Holofernes head dangling by her hip, the only connection to the identity of Judith besides the title itself. The swathe of sumptuous gold tones, parted lips, head tilted back, and hand playfully entwined in Holofernes hair all draw attention to her state of lust. Instead of highlighting her courage or strength, Klimt interprets Judith’s triumph as a result of her domineering sexuality.

Kehinde Wiley, Judith and Holofernes, 2012, Oil on linen, 120 x 90 in, Sean Kelly Gallery, New York

            The most obvious difference in this modern piece, besides the stylistic floral background, is the depiction of Judith as African American woman. Kehinde creates a social commentary on normative portrayal of Judith as a white female icon by changing her ethnicity to fit the same image of Judith as an empowered female slaying a tyrant. In the same way that there is significance in creating a black Judith, the decision to leave Holoferne’s severed head as a white male oppressor is filled with meaning. The complementary energy between the blue and orange underscore the collective power of this piece and create an element of movement. On top of her being fully clothed, Judith wears an haute couture gown and like models who wear designer brands, she is an icon meant to be emulated.

Franz von Stuck, Judith and Holofernes, 1927, Staatiches Museum Schwerin, Germany

Franz von Stuck takes Klimt’s Judith a step further to resemble an image copied from a fantastical erotica. Unlike Caravaggio, Stuck includes every element that would point towards Judith as a seductress.  Her lack of clothing is considered a scandalous nude because accessories like her headpiece and the wielding of her colossal sword date Judith as a mortal woman and draw attention to the reality of the situation. The staged pose and the contrast of light and dark draw attention to her naked figure, emphasizing her genitalia with darker shadows. Stuck exclusively exhibits Judith as a body to be looked at, quoting none of her heroism.

Conrad Meit, Judith with the Head of Holofernes, c. 1510-1515, Painted marble, height 30 cm, Bayerisches Nationalmuseum, Munich

While Conrad Meit certainly crafted this sculpture with the classical figure and Ancient Greece in mind, his Late Gothic influence and Low Country origin introduce a unique element to this depiction of Judith in sculpture form. She is a timeless nude like traditional Greek statues in the familiar contrapposto. Her hair is slightly stylized, painted gold, and glows like a halo.  This could be an attempt, paired with her childlike resemblance, to affirm her virtue. While Meit neutralizes her sexuality by arguing for her innocence, he still views Judith through a limited lens; could she not represent more than a chaste or unchaste female?

Artemisia Gentileschi, Judith Slaying Holofernes, 1611-1612, Oil on canvas, Uffizi, Florence

As the centerpiece of this curation, Artemisia’s portrayal of Judith Slaying Holofernes is a work that transcended its time. Gentileschi understood that the story of Judith was not a sexual narrative; this Judith is dignified and shown as a fearsome heroine worthy of praise. Using oil to her advantage, Gentileschi creates dynamic images that display an array of textures as well as her skill as an artist. An absence of visible brushstrokes eliminates any distractions the viewer would have from focusing on the gruesome content. There are no indicators that would categorize Judith as either chaste or sexualized, she is simply painted for what she was: a heroine.

Curation by Anne Fuller