A large engraving after Rubens shows Judith and her maid forcing down Holofernes as Judith cuts his neck.
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A large engraving after Rubens shows Judith and her maid forcing down Holofernes as Judith cuts his neck.

Cornelis Galle I, after Peter Paul Rubens, Judith Beheading Holofernes, c. 1610

Baroque reproductive printmaking · The act

Judith Beheading Holofernes

Cornelis Galle I, after Peter Paul Rubens 1576–1650; after 1577–1640

c. 1610

Gallery label

A monumental engraving after Rubens translates Baroque invention into a reproducible sheet almost sixty centimetres high.

Look closely

The body thrusts toward the viewer while Judith and her maid lean into the work of the blade; airborne figures amplify the crowded tent. Layered hatchwork carries flesh, fabric, shadow, and movement at a scale that rivals painting.

Why this Judith matters

Reproductive printmaking could spread a composition beyond an immobile painting without becoming visually minor. Galle's sheet shows how Rubens's invention entered a network of publishers, collectors, and later artists.

Sources for this record:National Gallery of Art object record ↗

“A monumental engraving after Rubens translates Baroque invention into a reproducible sheet almost sixty centimetres high.”

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

CC0 open-access reproduction

National Gallery of Art, Washington

Image reuse: CC0 1.0