"Judith with the Head of Holofernes (Saraceni) Judith with the head of Holofernes is a 1610–1615 painting by the painter Carlo Saraceni, now held in the Kunsthistorisches Museum in Vienna. The painting is typical of Saraceni's first decade in Rome where he became influenced by Caravaggio. His use of candlelight is illustrative of the chiaroscuro used by the tenebrists in this period. Another autograph copy is known in the Dayton Art Institute. This painting was documented in David Teniers the Younger's catalog ""Theatrum Pictorium"" of the art collection of Archduke Leopold Wilhelm in 1659 and again in 1673, but the"
"Judith and Holofernes (Mantegna) Judith and Holofernes is a painting by the Italian Renaissance artist Andrea Mantegna, painted about 1495, depicting the common subject in art of Judith beheading Holofernes. The painting has been dated through comparison with similar grisaille panels with Old Testament subjects, produced by Mantegna around 1495 and 1500. The work was perhaps included in the Gonzaga collection acquired by Charles I of England in 1628. Given to William Herbert, 6th Earl of Pembroke, it was inherited by his heirs until it was sold in London in 1917. After a series of different owners, it was acquired"
"silver. <br> Judith and Holofernes (Mantegna) Judith and Holofernes is a painting by the Italian Renaissance artist Andrea Mantegna, painted about 1495, depicting the common subject in art of Judith beheading Holofernes. The painting has been dated through comparison with similar grisaille panels with Old Testament subjects, produced by Mantegna around 1495 and 1500. The work was perhaps included in the Gonzaga collection acquired by Charles I of England in 1628. Given to William Herbert, 6th Earl of Pembroke, it was inherited by his heirs until it was sold in London in 1917. After a series of different owners, it"
"Judith Slaying Holofernes (Artemisia Gentileschi, Naples) Judith Slaying Holofernes is a painting by the Italian early Baroque artist Artemisia Gentileschi completed between 1614 and 1620. The work shows the scene of Judith beheading Holofernes, common in art since the early Renaissance, as part of the group of subjects art critics have called the ""Power of Women"", which show women triumphing over powerful men. The subject takes an episode from the apocryphal Book of Judith in the Old Testament, which recounts the assassination of the Assyrian general Holofernes by the Israelite heroine Judith. The painting shows the moment when Judith, helped"
"Judith at the Banquet of Holofernes Judith at the Banquet of Holofernes (also known as ""Artemisia Receiving Mausolus' Ashes"" and ""Sophonisba Receiving the Poisoned Cup"") is a painting by the Dutch master Rembrandt. It is housed in the Museo del Prado of Madrid, Spain. It is signed ""REMBRANDT F: 1634"". The subject of the picture was unclear for centuries. It portrays a young woman, formerly identified as Sophonisba or Artemisia, or a generic queen due to her jewels and rich garments, receiving a cup from a maiden. Today it is considered to be Judith at the banquet of Holofernes. For"
"Judith and her Maidservant (Gentileschi, Cannes) Judith and Her Maidservant is a painting by the Italian baroque artist Artemisia Gentileschi. Executed sometime between 1640 and 1645, it hangs in the Musee de la Castre, Cannes. The story comes from the deuterocanonical ""Book of Judith,"" in which Judith seduces and then beheads the general Holofernes. The precise moment painted takes place after the murder when her maidservant places the severed head in a bag, while Judith checks around her. It is the second of three paintings that Gentileschi painted of the same moment, using a similar design. One was painted much"
"""Supper at Emmaus"" by a 16th-century Lombard painter and 17th-century wooden statues depicting Saints Dominic and Nicolò. On the main altar is a 15th-century wood crucifix. The fourth chapel on the left by the apse has an ""Adoration of the Shepherds"", a copy of a work of Bernardino Campi; in the third chapel on left is a ""Madonna del Roseto"", a copy of a work by Francesco Francia by Giovanni Battista Bertusio. In the third chapel on left is a ""Crucifixion with St Antony Abbot and Francis of Assisi"" attributed to Francesco Superti; in the first chapel on left, are"
"Judith and the Head of Holofernes Judith and the Head of Holofernes (also known as Judith I) is an oil painting by Gustav Klimt created in 1901. It depicts the biblical character of Judith holding the severed head of Holofernes. When Klimt tackles the biblical theme of Judith, the historical course of art has already codified its main interpretation and preferential representation. In fact, many paintings exist, describing the episode in a heroic manner, especially expressing Judith's courage and her virtuous nature. Judith appears as God's instrument of salvation, but the violence of her action cannot be denied and is"
"to detail is also visible in the cracks of the marble ground as well as the fur trim on Ahasuerus's boots, and even in the detailing of the paws that adorn the king's chair. The materials in this painting feel almost real and tangible, which helps to make the scene even more relatable to viewers. Artemisia Gentileschi's paintings are often filled with images of women committing acts of violence against men, especially in her most well known painting, ""Judith Slaying Holofernes"". As one of the only prominent women in the Baroque era, Gentileschi's work is very well known. Her consistent"
"cut of meat. The table linen and crockery are also in view. In the background, Beuckelaer depicted the biblical story of Christ at Emmaus. This story is pushed into the background while the secondary matter of the dinner preparations for Christ's visit at Emmaus has become the painting’s main subject. This and similar scenes are regarded as the forerunners of the still-lifes of the 17th century, in which the narrative elements vanished entirely. His still life of a carcass referred to as (Wallraf-Richartz Museum) dated 1563 is likely the earliest dated example of this subject. Beuckelaer was also employed painting"
"Judith and her Maidservant (Gentileschi, Naples) Judith and Her Maidservant is a painting by the Italian baroque artist Artemisia Gentileschi. Executed sometime between 1645 and 1650, it hangs in the Museo di Capodimonte, Naples. The story comes from the deuterocanonical ""Book of Judith,"" in which Judith seduces and then assassinates the general Holofernes, who had besieged Judith's town. The exact moment depicted takes place after the murder when her maidservant places the severed head in a bag, while Judith checks around her. It is the third of three paintings that Gentileschi painted of the same moment, using a similar design."
"earlier (and hangs in the Detroit Institute of Arts), while the other was painted later in the 1640s now hangs in the Museo di Capodimonte, Naples Judith and her Maidservant (Gentileschi, Cannes) Judith and Her Maidservant is a painting by the Italian baroque artist Artemisia Gentileschi. Executed sometime between 1640 and 1645, it hangs in the Musee de la Castre, Cannes. The story comes from the deuterocanonical ""Book of Judith,"" in which Judith seduces and then beheads the general Holofernes. The precise moment painted takes place after the murder when her maidservant places the severed head in a bag, while"
"re-emphasize that the woman was actually Judith and not Salome he had his brother, Georg, make the metal frame for him with ""Judith and Holofernes"" engraved on it. Judith and the Head of Holofernes Judith and the Head of Holofernes (also known as Judith I) is an oil painting by Gustav Klimt created in 1901. It depicts the biblical character of Judith holding the severed head of Holofernes. When Klimt tackles the biblical theme of Judith, the historical course of art has already codified its main interpretation and preferential representation. In fact, many paintings exist, describing the episode in a"
"ancient ruins, flames and clouds of smoke. Van Swanenburg's city views include a biblical scene of (Museum De Lakenhal), which the artist completed in Naples in 1615. It depicts the apocryphal biblical story of the siege of the Jewish mountain town Bethulia by the Babylonians. The most important scene in the lower right corner is barely noticeable. There lies the lifeless body of the Babylonian general Holofernes. He was beheaded by the Jewish heroine Judith, who had cunningly entered his tent, plied him with drink, and then beheaded him. She took the head back to Bethulia as a trophy. Van"
"1507 he signed works now in London and Berlin, after which nothing further about him is known. Several signed works are known, including the only two large altarpieces, both from churches in Cremona and now in the National Gallery, London. Two versions of the ""Supper at Emmaus"", adapted from a lost work by Giovanni Bellini known from a print, are in the Gemäldegalerie, Berlin and the Gallerie dell'Accademia in Venice, where there is also a ""Circumcision of Jesus"" in the Museo Correr, dated 1499. Including unsigned attributed works, there is a probable surviving oeuvre of about a dozen paintings; apart"
"One was painted much earlier (and hangs in the Detroit Institute of Arts), while the other was painted in the early 1640s and now hangs in the Musee de la Castre, Cannes. Judith and her Maidservant (Gentileschi, Naples) Judith and Her Maidservant is a painting by the Italian baroque artist Artemisia Gentileschi. Executed sometime between 1645 and 1650, it hangs in the Museo di Capodimonte, Naples. The story comes from the deuterocanonical ""Book of Judith,"" in which Judith seduces and then assassinates the general Holofernes, who had besieged Judith's town. The exact moment depicted takes place after the murder when"
"James Fellowes (artist) James Fellowes (fl. 1710–1730) was a British portrait-painter. Fellowes is known for portraits of eminent clergymen of his time. There are portraits by him of Thomas Wilson, bishop of Sodor and Man (engraved by Vertue in 1726), Laurence Howell, the nonjuror, and Humphrey Gower, master of St. John's College, Cambridge (engraved by Vertue in 1719). Fellowes obtained notoriety as being the painter of the famous picture of the ‘Last Supper’ which was placed over the communion-table in the Church of St Mary, Whitechapel, by the Jacobite rector, Dr Richard Welton. In this Dr White Kennett, dean of"
"Judith and Her Maidservant (Detroit) Judith and Her Maidservant is a painting by the Italian baroque artist Artemisia Gentileschi. Executed in the 1620s, it hangs in the Detroit Institute of Arts. The narrative is taken from the deuterocanonical ""Book of Judith,"" in which Judith seduces and then murders the general Holofernes. The precise moment depicted has taken place after the murder when her maidservant places the severed head in a bag, while Judith checks around her. It is one of three paintings that Gentileschi painted of the same moment in the story. The other two were painted much later in"
"the woman, Rembrandt probably used his wife Saskia as model. Judith at the Banquet of Holofernes Judith at the Banquet of Holofernes (also known as ""Artemisia Receiving Mausolus' Ashes"" and ""Sophonisba Receiving the Poisoned Cup"") is a painting by the Dutch master Rembrandt. It is housed in the Museo del Prado of Madrid, Spain. It is signed ""REMBRANDT F: 1634"". The subject of the picture was unclear for centuries. It portrays a young woman, formerly identified as Sophonisba or Artemisia, or a generic queen due to her jewels and rich garments, receiving a cup from a maiden. Today it is"
"which Caravaggio is now famous. He preferred to paint his subjects as the eye sees them, with all their natural flaws and defects instead of as idealised creations. This allowed a full display of his virtuosic talents. This shift from accepted standard practice and the classical idealism of Michelangelo was very controversial at the time. Caravaggio also dispensed with the lengthy preparations traditional in central Italy at the time. Instead, he preferred the Venetian practice of working in oils directly from the subject – half-length figures and still life. ""Supper at Emmaus"", from c. 1600–1601, is a characteristic work of"
"their close adherence to nature and the delicacy and technical perfection of their execution. His technical skill is shown by the fact that several copies he made of Correggio's works were thought to be duplicates by Correggio himself. His extreme fastidiousness limited the number of his works. Several examples are to be seen at Florence and elsewhere. His most famous work, in his own day and now, is ""Judith with the Head of Holofernes"". It exists in at least two versions by Allori, of which the prime version is perhaps that in the British Royal Collection, dated 1613, with various"
"pentimenti. A version of 1620 in the Palazzo Pitti in Florence is the best known and there are several copies by studio and other hands. According to the near-contemporary biography by Filippo Baldinucci, the model for the Judith was his former mistress, the beautiful ""La Mazzafirra"", who is also represented in his Magdalene, the head of Holofernes is a self-portrait, and the maid is ""La Mazzafirra""'s mother. Cristofano Allori Cristofano Allori (17 October 1577 – 1 April 1621) was an Italian portrait painter of the late Florentine Mannerist school. Allori was born at Florence and received his first lessons in"
"(1540–1603), normally called ""Market Scene with the Journey to Emmaus"", which features prominently a half-naked figure who is clearly a cook (with Jesus and his companions as smaller figures behind him), in fact represents a self-portrait in a partly comic spirit, depicted as Peiraikos. Later in life, he also painted more conventional treatments of religious subjects, now mostly lost as during the iconoclasm of the beeldenstorm several paintings that had been commissioned for Catholic churches were destroyed. Several of his best works, including altarpieces in various churches in Amsterdam, were also destroyed during the days surrounding the event known as"
"resurfaced, which dates from the 1560s; as of 2012, this is in the National Museum of Western Art, Tokyo. About 1570 Titian painted an undoubted ""Judith with the Head of Holofernes"" (now Detroit Institute of Arts). Salome (Titian) Salome is an oil painting, probably of Salome with the head of John the Baptist, by the Italian late Renaissance painter Titian. It is usually dated to around 1515 and is now in the Doria Pamphilj Gallery in Rome. Like other paintings of this subject, it has sometimes been considered to represent ""Judith with the Head of Holofernes"", the other biblical incident"
"Mount Etna eruption, the 1674 rebellion in Messina and the 1693 Sicily earthquake. Italian art during the 17th century was predominantly Baroque in essence. 17th-century Italian Baroque art was similar in style and subject matter to that during the same period in Spain - characterised by rich, dark colours, and often religious themes relating notably to martyrdom, and also the presence of several still lifes. Lombard painter Caravaggio stands out as one of the most prominent from this era, known for his sacred (""Supper at Emmaus""), mythological (""Medusa""), still-life (""Basket of Fruit"") genres and the common depiction of local people"
"Elders"" (particularly the 1610 in Pommersfelden) and ""Judith Slaying Holofernes"" (most famous is her 1614-20 in Galleria degli Uffizi) and ""Judith and Her Maidservant"" (her version of 1625 at the Detroit Institute of Arts). She was known for being able to convincingly depict the female figure, anywhere between nude and fully clothed. Artemisia was also famous for her skill and talent in handling color, both overall in the composition but also in building depth. That she was a woman painting in the seventeenth century and that she was raped as a young woman by Agostino Tassi and participated in the"
"a young age, Galizia was already an established portrait painter handling many commissioned works. Perhaps it was her father's influence as a miniaturist that led to Galizia's attention to detail in her portraits. Her treatment of jewels and clothing made her a very desirable portrait painter. She was often commissioned to paint religious and secular themes as well. Several of her paintings based on the deuterocanonical story of Judith and Holofernes, a popular theme in art of the period, survive in private collections. Perhaps her earliest was ""Judith with the Head of Holofernes"" painted in 1596 which is now in"
"Judith and Holofernes (Donatello) Judith and Holofernes (1457–1464) is a bronze sculpture created by the Italian Renaissance sculptor Donatello at the end of his career. It can be seen in the Hall of Lilies (Sala dei Gigli), in the Palazzo Vecchio, Florence, Italy. A copy stands in one of the sculpture's original positions on the Piazza della Signoria, in front of the Palazzo Vecchio. It depicts the assassination of the Assyrian general Holofernes by Judith and is remarkable for being one of the first Renaissance sculptures to be conceived in the round, with its four distinct faces. The subject of"
"is shown. Rembrandt's 1648 depiction of the Supper builds on the etching that he did six years earlier, in which the disciple on the left had risen, hands clasped in prayer. In both depictions, the disciples are startled and in awe but not in fear. The servant is oblivious to the theophanic moment taking place during the supper. Caravaggio's painting in London and his painting in Milan were six years apart, and both imitate natural color very well, but both were criticized for lack of decorum. Caravaggio depicted Jesus without a beard, and the London painting shows fruits on the"
"her career, and now hang in Museo di Capodimonte in Naples and the Musee de la Castre, Cannes. The 2001 catalogue related to the exhibition of Artemisia Gentileschi and her father Orazio remarked that ""the painting is generally recognized as Artemisia's finest work"". Judith and Her Maidservant (Detroit) Judith and Her Maidservant is a painting by the Italian baroque artist Artemisia Gentileschi. Executed in the 1620s, it hangs in the Detroit Institute of Arts. The narrative is taken from the deuterocanonical ""Book of Judith,"" in which Judith seduces and then murders the general Holofernes. The precise moment depicted has taken"
"were able to be recovered and restored from the old church, among these: the canvas of the Annunciation by the artist Alessandro Maganza (on the main altar), the canvas depicting the Annunciation, artist unknown, from circa 600, the canvas of Emmaus’ dinner attributed to the Veronese School, the painting of The Martyr Saint Peter by Jacobo da Ponte, and the 4 marble altars of which one is a tabernacle from the second half of the 6th century. Other works of art were placed in the sacristy after the restoration; the terra cotta of Saint Peter the Martyr from the year"
"octagonal pilasters. Artworks include a 15th-century ""Madonna with Child and Angels"" and ""Annunciation"" by Riccio. Nearby is the entrance to the refectory, decorated by frescoes by Fra Paolo Novelli (1670) and, in the end wall, a canvas of the ""Last Supper"" by Lino Dinetto (1948). The stairs leading to the first floor are decorated by Sodoma's fresco depicting the ""Coronation of Mary"" and one by an unknown artist of the ""Deposition"". Antonio Muller (an artist from Danzig) executed in 1631 a ""Characters and Events of the Olivetani"", while by Giovanni da Verona is a wooden candelabrum (1502). The latter artist"
"his own aesthetics with the styles of his peers. Early works, 1530s and onward. Bonifazio de Pitati imparted upon his young pupil a lasting appreciation of Titian's work, the influence of which is clearly seen in his early pieces. Bassano's earliest paintings exhibit his lifelong obsession with brilliant colors that he had seen in Titian's beginning works, particularly in Bassano's ""Supper at Emmaus"" (1538). In this commission for a local church, Bassano fills the canvas with rich, luminous colors that help the distinguish the figures from their surrounding environment. He breaks away from the practices of his contemporaries by placing"