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Judith Beheading Holofernes tells the story Biblical story of Judith. Caravaggio was certainly aware of Judith's traditional identity as a symbol of triumph over tyranny but he presented the subject primarily as a melodrama, choosing the relatively rarely represented climactic moment of the actual beheading of Holofernes. Judith, young, beautiful, and physically weak, draws back distastefully as she seizes Holofernes's hair and cleaves through his neck with his own sword.

 

Caravaggio intensifies the body language not only in the poses, gestures, and facial expressions but also in the clenched hands. Drama has displaced the charm of his earlier epicurean paintings, as if the world had ceased to be his oyster and become a battlefield.

Judith Beheading Holofernes - Caravaggio

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Judith Beheading Holofernes - Caravaggio Canvas Print
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Judith Beheading Holofernes - Caravaggio Canvas Print
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Judith Beheading Holofernes - Caravaggio Canvas Print
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Judith Beheading Holofernes - Caravaggio Canvas Print
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Judith Beheading Holofernes - Caravaggio Canvas Print
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Judith Beheading Holofernes - Caravaggio Canvas Framed Print
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Judith Beheading Holofernes - Caravaggio Canvas Print
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Judith Beheading Holofernes - Caravaggio Framed Print
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Judith Beheading Holofernes - Caravaggio Framed Print
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Judith Beheading Holofernes tells the story Biblical story of Judith. Caravaggio was certainly aware of Judith's traditional identity as a symbol of triumph over tyranny but he presented the subject primarily as a melodrama, choosing the relatively rarely represented climactic moment of the actual beheading of Holofernes. Judith, young, beautiful, and physically weak, draws back distastefully as she seizes Holofernes's hair and cleaves through his neck with his own sword.   Caravaggio intensifies the body language not only in the poses, gestures, and facial expressions but also in the clenched hands. Drama has displaced the charm of his earlier epicurean paintings, as if the world had ceased to be his oyster and become a battlefield.

Caravaggio was an Italian painter active in Rome, Naples, Malta, and Sicily between 1592 and 1610. His paintings, which combine a realistic observation of the human state, both physical and emotional, with a dramatic use of lighting, had a formative influence on Baroque painting.

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