The Return Of Judith To Bethulia

In art, religious works and iconography are found all throughout history, but is distinctly prominent during the Renaissance. The word renaissance is defined as the rebirth or reawakening; in the case of the 14th through the 17th centuries, it is the rebirth of painting, technique, and Christianity. The Renaissance gave way to the appearance of the transfigured and the idea that religious imagery is not only a valuable means of communicating biblical stories, but of a method of revival and hope. One biblical story that was recreated in multitude, is the story of Judith beading Holofernes. The story of Judith comes from the deuterocanonical book of Judith in found in the Catholic and Orthodox Christian Old Testament in the Bible. The fable derives

One of the more notable paintings, is the telling of Judith of a miniature scale by Botticelli, The Return of Judith to Bethulia. This work of art is created in tempera in 1472 for the wife of a Grand Duke. The small dimensions make it stand out from other recreations of the story of Judith. This suggests that the painting itself was conceived for close observation, such as to be shown to others on special occasions (Ciletti, 42). The Return of Judith to Bethulia, showcases Judith with her maid carrying Holofernes’ severed head away from the scene of the crime. This painting has her maid holding the head, while Judith herself holds both the sword used in the modern and an olive branch. The contrasting symbols of both peace and violence connect to the idea of melancholy (Ciletti, 64). Although Judith seemingly wishes to present herself as a victor, the pause in her stride creates an almost a feeling of remorse. Botticelli evokes an uninhibited response of uneasiness in the viewer. While the painting should feel victorious, it captures a scene in which the protagonists are still in the mist of motion; they have not yet escaped and are running away. Through this idea, the painting itself captures both movement and stillness. As the maid moves in motion onwards, Judith remains almost in a dreamlike trance in place (Ciletti, 36). Botticelli’s Judith, although a

In Giorgione’s Judith, many classical elements are predominantly put on display. Giorgione shows the heroic, almost contrapposto stance of Judith stepping on Holofernes severed head. This posture alludes to the iconography of David’s defeat of Goliath. This oil painting created in 1504 captures the courageous woman in a moment of triumph. In this depiction, Judith is an enchanting, beautiful young girl, who although holds a sword, uses her beauty as the true weapon (Fomicieva, 417). The youthful face mimics ideas of imagery of Mary and Eve, but her body destroys the idea of the virtue (Fomicieva, 418). The high slit on her feminine pink dress evokes eroticism and elicits voyeurism. This portrayal of Judith is defined by the male gaze and female sexuality. Giorgione developed contrasting elements throughout the painting. Similar to other depictions, Judith’s appearance is almost too graceful, beautiful, and delicate to establish believability that she is a killer. In this work, Judith is weakly holding up the sword, while almost tenderly gazing down at Holofernes’s head. The audience must question why Judith looks upon the decapitated head with care. Is she lovingly looking upon her triumph, or is Giorgione suggesting other sexual themes as well? Continuing with the conflicting imagery, the use of color in the cool morning landscape forms a poetically thoughtful mood,