Judith Beheading Holofernes
Judith beheading Holofernes 1. Painted by the Italian artist Caravaggio, in 1598 around the 16th century.
During the art movement of Baroque period.
2. It is a history painting
3. The media: Oil on canvas /
The method: The lighting in this painting is dramatic, as though a single flame is illuminating the entire scene, causing the shadows to recede far into the background and the highlights to protrude outwards. This is most evident in the red curtain behind Holofernes.
The techniques:
Elements
The color: red and white are the focus here, the red drapes emphasize the bloodshed and triumph while the white represent virtue of Judith they stand out in the dark setting.
The direction: Caravaggio possessed this skill of absorbing the audience into his painting. The scene extends and almost invites the viewers into the room of the painting to be part of it.
Principle
The contrast: the scene is brightly lit against a mysteriously dark background, his bed is distinguished by a magnificent red curtain, whose color crowns the act of murder as well as the heroine's triumph.
Dominance: the painting is dark and dramatic. The figures are theatrically lit from the side, and stand out from the inky, black background. Judith and her maid Abra stand to the left, partially over Holofernes, who is vulnerable on his back. Description/analysis
On the right side, we can see Judith as she is in the act of beheading
Holofernes, her face in almost disgust as does the task at hand to save her town. Though she looks a little fearful she gives off the strong aura that is told in the text. Onside of her is her old maid, waiting to receive the head.
The details of the painting are truly realistic from the sun wrinkled skin of the maid, the stranded muscles of Holofernes, the furrowed brow of
Judith, to the physiology seen at the cut on Holofernes’ neck. The sword that Judith holds reflects the light and shadows of the room. The only theatrical thing of the painting one could
During the art movement of Baroque period.
2. It is a history painting
3. The media: Oil on canvas /
The method: The lighting in this painting is dramatic, as though a single flame is illuminating the entire scene, causing the shadows to recede far into the background and the highlights to protrude outwards. This is most evident in the red curtain behind Holofernes.
The techniques:
Elements
The color: red and white are the focus here, the red drapes emphasize the bloodshed and triumph while the white represent virtue of Judith they stand out in the dark setting.
The direction: Caravaggio possessed this skill of absorbing the audience into his painting. The scene extends and almost invites the viewers into the room of the painting to be part of it.
Principle
The contrast: the scene is brightly lit against a mysteriously dark background, his bed is distinguished by a magnificent red curtain, whose color crowns the act of murder as well as the heroine's triumph.
Dominance: the painting is dark and dramatic. The figures are theatrically lit from the side, and stand out from the inky, black background. Judith and her maid Abra stand to the left, partially over Holofernes, who is vulnerable on his back. Description/analysis
On the right side, we can see Judith as she is in the act of beheading
Holofernes, her face in almost disgust as does the task at hand to save her town. Though she looks a little fearful she gives off the strong aura that is told in the text. Onside of her is her old maid, waiting to receive the head.
The details of the painting are truly realistic from the sun wrinkled skin of the maid, the stranded muscles of Holofernes, the furrowed brow of
Judith, to the physiology seen at the cut on Holofernes’ neck. The sword that Judith holds reflects the light and shadows of the room. The only theatrical thing of the painting one could