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CARAVAGGIO, JUDITH BEHEADING HOLOFERNES, CA. 1598-99, ROME,
GALLERIA NAZIONALE, PALAZZO BARBERINI
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Art critique is both very
subjective and objective at the same time. But of all the art I have seen, I appreciate
Caravaggio’s use of light and darkness to highlight certain aspects of an
event. Baroque art is noted for depicting an event at its highlight, not before
or after like Renaissance paintings before it. Caravaggio, Judith beheading Holofernes,
ca. 1598-99, Rome, galleria nazionale, palazzo Barberini is a perfect
representation of this concept of using light. Some background behind the
painting as told by Heta Vyas:
The
very comely and rich widow Judith, had put off her mourning clothes, dressed
herself in the finest garments and entered the enemy camp in order to rescue
her people. The Assyrian army, led by Holofernes, stood in arms before the city
of Bethulia. The Jews had lost heart, were on the point of giving up, and yet
this woman set out on her own to seduce the enemy. After her bloody deed, the
enemy soldiers fled in panic; Israel was saved and Judith returned triumphantly
from the libertine’s tent. (ceptartjournalists.blogspot.com)
The lines of the sword and the
blood squirting from the next suggest an exaggerated burst of blood to emphasize
the kill. The shapes attempt to simulate nature as close as possible with the
possible exception of Holofernes who has over emphasized musculature. This
could be an attempt to make him larger than life. The lines on the faces of the
characters depicts the emotions of the characters. Outright fear and pain of
Holofernes in contrast to Judith’s look of determination. The handmaiden on the
far right is a look of anger and anticipation of justice.
All the colors are subdued and
natural except for the blood squirting from the neck. Again possibly to bring
emphasis on the horrific event. All the textures in the painting are very
natural and smooth, except for the hand maiden whose facial features are very
sharp to emphasize her age and frailty.
Caravaggio’s use of space makes the
characters pop out of the painting by use of shadowing and the way his
Holofernes right arm gets smaller distally. The angles of Judiths arms grabbing
the hair and holding the sword also suggest a third dimensional environment.
The most prominent element of the art piece is the value. There are so many
examples of shadows with various degrees of darkness around the key players of
the painting which demonstrates the three dimensional environment. It also
demonstrates that this is not a static event. The Characters are not posing for
this painting but that it is ever changing with the movement of the sword and
the varying degrees that Holofernes understanding of his particular situation.
The only pattern that I can see is
that all the cloth is depicted as folds threw the use of lines which further
increases the perception that the event is happening and there was no time to
create a perfect static pose. Movement of Holofernes is created by the shape of
his right hand. The way it is situated on the bed demonstrates that he is
pushing as Judith is pulling his head with her left hand on his hair to
alleviate tension as Judith pulls his neck taught for slicing it open.
All proportions are anatomically
correct but modified to depict how it would be seen within a three dimensional
environment. This is depicted by the angles of the face and the body. The
Tapering or enlarging of limbs as the go deeper or shallower within the
painting. The blood squirting is not natural. The blood would fall with gravity
however by straitening it, it is as if the blade is going so fast that gravity
has not yet had enough time to catch up with it.
The
Biggest element of the value which to me makes this classically Caravaggio. The
background is muted with very dark shadow. The three main characters are very
bright in contrast and the emotion on the characters faces demonstrate the very
reality of the event. I have read various interpretations of the painting. Some
say that it is the triumph of justice. The depiction of Syrians without their
leadership. That it may have been inspired by highly publicized beheadings of
the time. There have been several painters who have demonstrated this exact
event. I do not know if I can really get on board with any of them. To me this
is a mourning woman who wanted revenge. What makes this more prominent is the handmaiden’s
expression of loathing. Judith’s lack of empathy to me also represents the
scorn of a widow, not triumph of justice.
A feminist might argue that
Caravaggio has depicted an event in strength of women. That when we are drunk
and asleep that we are all equally vulnerable and that women should be treated
with as much respect as men. That when you are asleep it doesn’t matter if is a
strong man or a weaker woman and old lady. Your throat being slit will equally
kill you. A Feminist might use this as a cry for equality. I personally just see an artist who made a
visual depiction of a biblical story and highlighted the climax of the event
through use of lines and shadow.
Bibliography
Vyas, Heta. Art Journos of CEPT. 7 March 2011.
16 July 2015.
<http://ceptartjournalists.blogspot.com/2011/03/analysis-of-painting-by-caravaggio.html>.
