Artemisia Gentileschi's 'Judith and Holofernes' | Jones Gallery Lecture Series

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Jones Gallery curator and art historian Sarah Jones discusses the Uffizi version of Artemisia Gentileschi's 'Judith and Holofernes'.
Artemisia GENTILESCHI
Judith and Holofernes
Oil on canvas, 146.5 x 108 cm
c. 1620
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Speaker Biography:
Sarah Jones (BA, MA Art History, Queen's University) is a visual artist, art historian and curator. She has participated in solo and group exhibition across Canada and abroad, and her work is held in the public collections of the University of New Brunswick and the New Brunswick Art Bank. Sarah is a recipient of numerous grants and awards, including funding from ArtsNB and Canada Council for the Arts. Sarah and her brother, Caleb Jones, are co-owners of Jones Gallery in Saint John, NB.

Опубликовано:

2 окт 2024

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Комментарии : 3

@cedfi0z 2 года назад

In the earlier version the bottom half of the sword looks like she forgot it was supposed to be the sword and made it a part of the blood stain! Adore your analysis and I am so glad to discover Gentileschi, I didn't think I would prefer a different Holofernes depiction than Caravaggio's and so happy to be proved wrong!

@50l12 4 месяца назад

Gentileschis version is much more raw than Caravaggios, got to be one of the best feminist pictures in art

@benjaminduke7344 4 года назад

For some reason the violence in art history was always at a safe remove, like wire-fu in kung fu films, something directed by Jing Wong...Kungfu Cult Master. Overacted with sound effects for the spray of blood- that sort of thing. Until the beheading propaganda videos of the early 2000's which also had/have a strange sense of the theatrical which only increases their horrific reality. Those events, and now even these paintings seem to create in me a sense of being in history, they cut through the simulacrum, to uncover the actual fragility of the individual caught up in the crush of time.