Formal Analysis of Judith Beheading Holofernes
U37649838
Michelle Slaughter
HUM1020.521S15
January 19, 2014
Chapter 2 Assessment In Judith Beheading Holofernes, created in 1599, Michelangelo Mensi da Caravaggio uses high contrast and vivid lines to capture the dramatic essence of the beheading of Holofernes. In this rectangular oil painting done on canvas measuring 57 inches by 77 inches, the realistic view of the physical and emotional human state is depicted in a vulgar manner. Caravaggio’s painting illustrates a book in the catholic Bible dedicated to Judith in which she depicts an example of courageous love. In order to save her people and represent the Israelites, Judith seduces Holofernes, makes him drunk, and then beheads him. Because she embodies the power of the people of Israel, she is shown higher than the man, contrasting towards the era where females were never seen dominating over males. The painting is of a close up scene occurring between two females and a male. Behind the people there is a red curtain which is the only visible portion of the background. The rest is in dark shadows, with only the subjects being illuminated. The man is lying on a bed, while the women are standing to the right of him. The woman to the right of the man, Holofernes, is Judith and she is leaning away from him with her right hand holding onto the sword handle as her left hand secures his head in a fixed position. Judith is shown wearing a tan and white dress with sleeves that are rolled up; her strawberry blonde hair pulled back with some loose curls falling down around her face. On the other hand, the woman to her side looks much older because of her wrinkles and appears to be a servant based on her clothing. Furthermore, Holofernes is lying on a bed of white sheets while covered in a dark green and brown blanket from the torso down. Caravaggio’s baroque style of painting can be characterized by intense light and dark shadows, strong colors, and great drama. For example, he dramatized this scene by using
Michelle Slaughter
HUM1020.521S15
January 19, 2014
Chapter 2 Assessment In Judith Beheading Holofernes, created in 1599, Michelangelo Mensi da Caravaggio uses high contrast and vivid lines to capture the dramatic essence of the beheading of Holofernes. In this rectangular oil painting done on canvas measuring 57 inches by 77 inches, the realistic view of the physical and emotional human state is depicted in a vulgar manner. Caravaggio’s painting illustrates a book in the catholic Bible dedicated to Judith in which she depicts an example of courageous love. In order to save her people and represent the Israelites, Judith seduces Holofernes, makes him drunk, and then beheads him. Because she embodies the power of the people of Israel, she is shown higher than the man, contrasting towards the era where females were never seen dominating over males. The painting is of a close up scene occurring between two females and a male. Behind the people there is a red curtain which is the only visible portion of the background. The rest is in dark shadows, with only the subjects being illuminated. The man is lying on a bed, while the women are standing to the right of him. The woman to the right of the man, Holofernes, is Judith and she is leaning away from him with her right hand holding onto the sword handle as her left hand secures his head in a fixed position. Judith is shown wearing a tan and white dress with sleeves that are rolled up; her strawberry blonde hair pulled back with some loose curls falling down around her face. On the other hand, the woman to her side looks much older because of her wrinkles and appears to be a servant based on her clothing. Furthermore, Holofernes is lying on a bed of white sheets while covered in a dark green and brown blanket from the torso down. Caravaggio’s baroque style of painting can be characterized by intense light and dark shadows, strong colors, and great drama. For example, he dramatized this scene by using