Pedro Américo’s monumental Judith raises one arm in triumph as Holofernes’s severed head rests near her feet.
Full-screen viewing
Pedro Américo’s monumental Judith raises one arm in triumph as Holofernes’s severed head rests near her feet.

Pedro Américo, Judith and Holofernes, 1880

Academic history painting · Display of the head

Judith and Holofernes

Pedro Américo 1843–1905

1880

Gallery label

A Brazilian history painter working in Florence turns Judith into monumental academic theatre, then sends the canvas into a Rio de Janeiro collection.

Look closely

The vertical canvas builds from trophy and drapery to the raised arm. Polished anatomy, archaeological costume, and controlled spotlight convert the biblical episode into Salon-scale public rhetoric.

Why this Judith matters

The painting widens the geography of academic art. Judith’s nineteenth-century life was transatlantic, shaped by artists and institutions that popular surveys centered on Europe routinely omit.

Sources for this record:Museu Nacional de Belas Artes record ↗

“A Brazilian history painter working in Florence turns Judith into monumental academic theatre, then sends the canvas into a Rio de Janeiro collection.”

Narrative index

Primary catalogue placement: display of the head, Judith 13:14–16. 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 13:14–16 →

Image information

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

Museu Nacional de Belas Artes, Rio de Janeiro, via Wikimedia Commons

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