The Genoa Judith superimposed on the Ufizzi version,
both to proper scale, revealing their close similarity.
Artemisia Gentileschi (1593-1653)
Judith Slaying Holofernes
1612-13
oil on canvas
62 ½ x 49”
Museo di Capodimonte, Naples
M
ary Garrard has proposed a
feminist methodology to attributions in
the work of Artemisia. In this case she
is assumed to have drawn upon her own
experience as a female, particularly in
view of the Tassi scenario, to account
for the dynamic pathos embodied in
Susanna’s pose, her evident vulnerability
and fear against the towering male
presences, while nevertheless refusing
their demands. It’s certainly a plausible
suggestion, though weakened in the
Tassi connection because the Susanna
painting predates the rape. Garrard
addresses this by surmising that sexual
harassment must have been going on
prior to that event. While plausible it is
also undocumented.
Artemisia Gentileschi (1593-1653)
Judith and her Maidservant
1625-1627
oil on canvas
72 x56”
Detroit Institute of Arts
Gift of Mr. Leslie H. Green
(inv. 52.253)
May | June 2018
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