Judith and her maid pause together over the severed head, turning as if alerted during their escape.
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Judith and her maid pause together over the severed head, turning as if alerted during their escape.

Orazio Gentileschi, possibly with Artemisia Gentileschi, Judith and Her Maidservant with the Head of Holofernes, c. 1608–1612

Baroque / Caravaggism · Escape from the camp

Judith and Her Maidservant with the Head of Holofernes

Orazio Gentileschi, possibly with Artemisia Gentileschi attribution and collaboration under study

c. 1608–1612

Gallery label

An unsettled attribution becomes evidence: father, daughter, workshop, and possible collaboration complicate the desire for a single authorial voice.

Look closely

The women form a tight horizontal block against the tent. Their heads turn in opposite degrees of alarm while the wrapped trophy anchors the foreground between them.

Why this Judith matters

The painting makes attribution intellectually productive. It asks how gendered expectations shape what viewers assign to Orazio, Artemisia, or shared studio practice.

Sources for this record:National Museum of Art, Architecture and Design record ↗

“An unsettled attribution becomes evidence: father, daughter, workshop, and possible collaboration complicate the desire for a single authorial voice.”

Narrative index

Primary catalogue placement: escape from the camp, Judith 13:9–12. 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 13:9–12 →

Image information

Artwork public domain; museum image CC BY 4.0

Nasjonalmuseet, Oslo

Image reuse: CC BY 4.0