Judith and her maid force Holofernes down while Judith cuts his neck and blood arcs across the bed.
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Judith and her maid force Holofernes down while Judith cuts his neck and blood arcs across the bed.

Artemisia Gentileschi, Judith Slaying Holofernes, c. 1620

Baroque / Caravaggism · The act

Judith Slaying Holofernes

Artemisia Gentileschi 1593–after 1654

c. 1620

Gallery label

The Florence painting enlarges, clarifies, and intensifies the earlier composition. It is a reconsideration of light, fabric, force, and consequence.

Look closely

Yellow and crimson sleeves divide the dark. Judith's stable arms and her maid's vertical pressure meet Holofernes's resistance; blood records the sword's direction.

Why this Judith matters

Modern feminist reception is crucial, but patronage, the Uffizi’s proposed Roman completion after Artemisia’s seven-year Florentine period, technical revision, and the two-version problem remain equally necessary evidence.

Sources for this record:Uffizi Galleries record ↗Smarthistory object essay ↗

“The Florence painting enlarges, clarifies, and intensifies the earlier composition. It is a reconsideration of light, fabric, force, and consequence.”

Narrative index

Primary catalogue placement: the act, Judith 13:6–8. The index organizes comparison; it does not claim that every visual detail comes from those verses or that the work touches only one episode.

Text and evidence

The passage behind the image

See the verses in parallel public-domain translations, then return to ask what the artist has omitted, moved, or invented.

Read Judith 13:6–8 →

Image information

Artwork public domain; source marks the digital file public domain or PD-Art, but status may differ by jurisdiction

Uffizi Galleries / Google Art Project, via Wikimedia Commons

Image reuse: Public-domain source assessment (jurisdiction varies)