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Judith and the Head of Holofernes
''Judith and the Head of Holofernes'' (also known as ''Judith I'') 〔As Klimt painted another one, ''Judith II''. (See image at right)〕 is an oil painting by Gustav Klimt created in 1901. It depicts the biblical character of Judith holding the severed head of Holofernes.
==Context and influences==
When Klimt tackles the biblical theme of Judith, the historical course of art has already codified its main interpretation and preferential raffiguration. 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 dramatically shown in Caravaggio's rendering,〔Cf. Caravaggio's painting in Wiki Commons.〕 as well as those of Gentileschi and Bigot.〔See Gallery of ''Judith Beheading Holofernes'' renditions.〕 Other representations have chosen the subsequent moment, when a dazed Judith holds Holofernes' severed head, as Moreau and Allori anticipate in their suggestive mythological paintings.〔E. Di Stefano, ''Gustav Klimt'', Art Dossier No. 29 (1988), ''passim''. See images by Allori and Moreau in Wiki Commons.〕
Klimt deliberately ignores any narrative reference whatsoever, and concentrates his pictorial rendering solely on to Judith, so much so that he cuts off Holofernes' head at the right margin. And there is no trace of bloodied sword, as if the heroine would have used a different weapon: an omission that legitimates association with Salome.〔The associations with Salome are many and varied, covering an extensive period in pictorial representation. Even Klimt's ''Judith II'' is at times quoted as ''Salome''. See .〕 The moment preceding the killing — the seduction of Nebuchadnezzar's general — seems to coalesce with the conclusive part of the story.〔Cf. Federico Zeri, ''Giuditta I'' (1998), p. 4.〕
''Judith I'' reveals a curious symbolic and compositional consonance with ''The Sin'' by Franz Stuck:〔Franz Stuck too, painted a Judith, but ''before'' the killing: see Commons image.〕 the ''temptation'' illustrated by the German painter becomes the model for Klimt's ''femme fatale'' by suggesting the posture of the disrobed and evanescent body as focal piece of the canvas, as well as the facial set. Judith's force originates from the close-up and the solidity of posture, rendered by the orthogonal projection of lines: to the body's verticality (and that of Holofernes') corresponds the horizontal parallels in the lower margin: those of the arm, the shoulders joined by the collier, and finally the hair base.〔Cf. F. Zeri, ''Giuditta I, cit.'', p. 8.〕
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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