Artemisia at the height of her powers
Artemisia's 'Judith and her Maidservant with the Head of Holofernes'
Judith and Her Maidservant with the Head of Holofernes (1645-50) by Artemisia GentileschiMuseo e Real Bosco di Capodimonte
Artemisia's vividly imagined episode from the story of the Old Testament heroine, Judith, stands among the artist's greatest pictures.
It was painted in about 1623–5, when Artemisia was in her early thirties and enjoying great success in her native city of Rome.
Painted on a grand scale, Artemisia created a work of powerful drama, lighting the entire scene with a single candle.
Judith, who stands shielding her eyes from the light, is the virtuous Jewish widow of the story.
She has dressed in her finest clothes to enter the camp of the Assyrian army who is besieging her city of Bethulia.
Entering the tent of the army's commander, Holofernes, she dines with him. But when he falls into a drunken sleep, she seizes his sword and cuts off his head.
Here the beheading has just taken place.
Holofernes' blood still drips from the sword Judith clasps in her hand.
At the same time, Judith's maidservant, Abra, hastily bundles the general's head into a basket.
Artemisia imagines the physical reality of the scene with great clarity.
With intense naturalism, Artemisia depicts the blood trickling through Abra's fingers and the stained cloth wrapped around the severed head.
Although Judith has achieved her aim in killing the enemy commander, she is not yet out of danger.
Artemisia shows both women frozen as they hear a noise from beyond the general's tent. Judith raises her hand in alarm, blocking the light of the candle, and looks to see who might be approaching.
On the table beneath the candle, Artemisia has painted a wonderful still life of gleaming armour – a reminder of the general they have overpowered.
Artemisia shows Judith's exceptional calm and presence of mind.
The glints of light catching the gold and pearls of Judith's diadem give her a regal air.
Her strong arms and rolled up sleeves suggest Judith's strength, capability and resolve to take action – whatever the danger.
Importantly, Artemisia's Judith does not act alone.
As the heroine turns in profile, her maidservant does the same. The visual repetition of their movements suggests their unity and common purpose. The hierarchy of mistress and servant is dissolved.
The strong diagonal lines formed by Judith's arms and sword link the two women together and create a dynamic thrust.
They also centre our attention on the candle flame and Judith's raised palm.
In reality, no candle could illuminate the scene as Artemisia depicts it, nor could it throw the shadow that falls across Judith's face.
But the effect so perfectly complements the psychological drama Artemisia sets out to create that it convincingly defies logic.
As with so many of Artemisia's greatest paintings, here she balances the artifice of theatrical spectacle with believable naturalism.
