The Biblical tale of Judith has always been a very popular subject in the world of art. In this story, Judith, a God-serving widow, is faced with the horrible task of murder. The concept of a woman being called by God to perform such a task in order to protect her people is one, which strikes attention. She is presented as a strong woman who knows the severity of what she has to do and does it despite the fact that no other man was willing to accomplish such a task. While Holofernes had planned to seduce her, she turns the tables on him, waits until he is passed out drunk and chops off his head with his very own sword.
So then, we are left with the issue that seems to catch most people’s interest: what is the character of Judith? Is she an evil seductress out to get Holofernes’ head, or is she a strong woman who is simply doing what she has been called to do? Many artists choose to portray Judith as being one or the other, or somewhere in between. “She is simultaneously presented as a saintly, chaste, wise, God- fearing widow woman and as a ‘vamp’ who does not hesitate to use verbal and sexual deceit to kill the enemy general, Holofernes. This depiction of Judith has given commentators and those who have chosen to portray her through the visual arts ample opportunity to exalt her either as a virginal saint or decry her as a voracious femme fatale – according to their needs” [1] In the artworks depicting Judith, each artist illustrates the story differently by choosing to exemplify the various characteristics of Judith. Placing these pieces in conversation with one another will allow us to get a better understanding of which Judith character each of the artists are emphasizing in their art.
[1] Helen Efthimiadis-Keith, “Text and interpretation: Gender and violence in the Book of Judith, scholarly commentary and the visual arts from the Renaissance onward,” Old Testament Essays 1, no. 15 (2002): p. 65.
Benjamin-Constant, Judith, ca. 1886
Oil on Canvas, MET Museum,
This interesting portrait of Judith illuminates her as a strong warrior who has proudly defeated the enemy. The gold material of her dress alludes to her power and holiness while the deep red background reminds us of the drama filled execution. She is a strong persona with a confident pose without being depicted in an overly sexualized way. We see a mixture of strength and femininity: her arms are thick and slightly manly looking yet her hands are elegant as one is placed on her hip (a sign of femininity in itself) and the other is firmly holding the handle of the sword. Her face, too, seems a bit square and androgynous at first glance, but, if you look carefully, we can see she has soft features. These details along with the various pieces of jewelry worn and the way her hair falls on her shoulders are ways in which Benjamin-Constant chooses to depict Judith's femininity. All together allowing her to be represented as a strong woman warrior.
Giorgione, Judith, ca. 1500-1504
Oil on Canvas, Hermitage Gallery, Russia
Here we see Judith after she has killed Holofernes, gently holding his sword and resting her barefoot on his head with a dreamy landscape behind her. This painting differs from the other artworks because here we are not shown any specific moment in the story; it is more like a portrait of Judith with her trophy. Judith is clothed in a pink dress that is very modest on top yet flowing and a bit daring from the waist down as it slits to show her bare leg from the thigh down. Her foot, which is gently placed on Holofernes head, gives off a sense of domination and power while at the same time shows the delicacy she upholds.
Botticelli, The Return of Judith to Bethulia, 1472
Tempera Painting, Uffizi Gallery, Italy
Again, we see Judith after slaying Holofernes, here however, she is on her way back to her home, Bethulia. Both Judith and her maidservant are fully clothed in flowing robes as they walk barefoot through the landscape. Here we do not see Judith being portrayed with masculine features, instead, both the women resemble young girls. Judith has a pensive, almost wise, look on her face. This odd mixture of grace and the potential of violence, which we are reminded by her holding the sword, are indicators of her female dominance and saintliness.
Donatello, Judith and Holofernes, ca. 1456-60
Bronze, Palazzo Vecchio, Italy
The ability to be able to stand in the presence of, and walk around this bronze sculpture, allows the viewer to feel the anticipation as Judith is about to swing the sword with all her might to chop off the enemy’s head. Even though Judith is not showing any skin, we can make out her very feminine figure through her garments. She has a very concentrated look and strong stance as she firmly grabs Holofernes by the hair and uses her body to steady his. Here we see Judith as a dominant, powerful, yet saintly woman, as there are no masculine or overtly sexualized features.
Rubens, Judith with the Head of Holofernes, early 1630s
Oil on Canvas, Herzog Anton Ulrich Museum, Germany
In this dramatic painting we see Judith who has just chopped off Holofernes’ head with her breast still uncovered from when she was “seducing” him. She is glancing up looking straight at the viewer while chills run down your spine as you realize what this evil woman has just done! Her arms are thick and have a manly appearance as does her face, which is very square, and equally masculine. This Judith not in any way presently as a saintly woman, instead she is a wicked seductress who kills with ease.
Artemisia Gentileschi, Judith Slaying Holofernes, ca. 1620
Oil on Canvas, Uffizi Gallery, Italy
This equally dramatic depiction of Judith “slaying” Holofernes focuses on the struggle of the kill. It is full of emotion, not only that of which you see amongst the characters in the painting, but also the uneasy feeling you get as the viewer. We witness the action as it is happening right before our very eyes; we sense Judith’s concentration as she is in the middle of the very act, as the blood squirts out of Holofernes body while he grabs the maidservant for help. Judith is a strong, thicker woman, and while she is fully clothed, a bit of cleavage is revealed in a feminine, non-sexualized way. Gentileschi’s choice of painting the biblical story’s horrendous climax is brilliant; choosing to portray Judith as a strong, working woman who is very aware of the daunting task she must perform yet accomplishes it diligently. She is neither presented as saintly or as an evil seductress, instead, she is just a woman who knows and acts.
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