Judith on top

Luca Giordano, “Triumph of Judith,” 1703-1704, fresco, Certosa di San Martino, Naples, Italy

Where do I begin?  This ceiling is completely overwhelming and my neck hurts even though I am looking at it on a computer screen.

This is again one of the Masters of the Big Pictures, Luca Giordano.  He was nicknamed Luca Fa Presto (Luke work quickly) because of his extraordinary speed of product and huge output.   This fresco is particularly amazing because it is said he took less than 48 hours to complete this last work, The Triumph of St. Judith, on the ceiling of the Cappella del Tesoro at the age of 72 (1).

Shut the front door.  Age 72?  Less than 48 hours?  On a freaking ceiling?  Was he like Jack LaLanne?

As this image is oriented here, on the lower edge is Holofernes’ headless body with Judith standing on the ledge above him – again waving his head like a beacon.   Holofernes’ empty tent is in the background of the upper portion.   All around the edge is the chaos of soldiers fleeing the scene on horseback – and being chased by angels with swords.   Now that is a scary thought:  winged creatures falling from the sky with swords.  Totally.  Bad.  Ass.

And then there are the corners, which I wish someone would explain to me because I am sure there is a story.  Each corner depicts a beautiful young woman surrounded by cherubs.   Clockwise starting with Holofernes’ dead body:

• Woman with a baby and 3 or 4 cherubs
• Woman with a tankard and 2 cherubs
• Woman with bundle of kindling and 3 cherubs
• Woman with palm leaves, book (?) and 4 cherubs

And they all look so … serene.  Even with all the chaos and confusion around them, they sit in the corners like they are in a spa.  Are they mythological creatures?  Even though that seems incongruous with the Bad Ass Angels. 

Oiy.  Now i’m dizzy.

(1)  In Italy Online, Campania: Luca Giordano

 

Judith is blessed

Matthäus Guenther, “Judith shows the head of Holofernes to the Jewish people,” 1702-1707, Wilten Church, Innsbruck, Austria

The ceiling of the Wilton Basilica in Innsbruck is dedicated to St.Mary as intercessor for humanity and to Judith, her precursor.   St. Mary resides illuminated in the heavens, while Judith displays Holofernes’ head on the wall of Bethulia.   Both adored by throngs of people for their beneficence.

There are surely many stories woven into this huge fresco.   On the left, there is the tent of Holofernes with his decapitated body and the army running the other way.   In the lower left corner is that happy child again, clapping his hands.   Meanwhile on the right side, someone from heaven is smiting a dragon.   I would say St. George since he is the patron saint of Tyrol.  Oh, and do not forget God sitting in the upper right corner.

I did attempt to translate the inscriptions, but my Latin is horrible and my eyesight is worse when it comes to reading from this image.   If anyone wants to try a translation, it would be much appreciated.   I got as far as “I am the Lord did not allow … Crush the head of your …”

If this were Wheel of Fortune, I would guess “… you to be conquered” and ” … enemy.”

*  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *

Book of Judith, Chapter 13

17 Then all the people were wonderfully astonished, and bowed themselves and worshipped God, and said with one accord, Blessed be thou, O our God, which hast this day brought to nought the enemies of thy people.
18 Then said Ozias unto her, O daughter, blessed art thou of the most high God above all the women upon the earth; and blessed be the Lord God, which hath created the heavens and the earth, which hath directed thee to the cutting off of the head of the chief of our enemies.
19 For this thy confidence shall not depart from the heart of men, which remember the power of God for ever.
20 And God turn these things to thee for a perpetual praise, to visit thee in good things because thou hast not spared thy life for the affliction of our nation, but hast revenged our ruin, walking a straight way before our God. And all the people said; So be it, so be it.

 

Judith with and without cherubs

More Big Pictures with Big Heads.

This painting illustrates the moment when Judith displays the trophy of her victory to the citizens she has rescued. In a Christian context, the story of the Jewish heroine represents the triumph of virtue over evil. During the Counter-Reformation, the subject also became a powerful symbol of the Catholic Church’s triumph over heresy, or dissent from its teachings. Here, Solimena shows Judith as confident that she has served the will of God. The dramatic lighting, gestures and facial expressions of the figures are intended to appeal to the emotions and inspire the faith that motivated Judith.(1)

 

Francesco Solimena, “The Triumph of Judith,” 1704-1708, Oil on canvas, 98.43 x 125.1 cm, Memorial Art Gallery of the University of Rochester, Rochester, New York, USA

Francesco Solimena was a prolific artist and a highly conventional painter that followed the Baroque masters Luca Giordano and Mattia Preti (and Giovanni Lanfranco but he did not paint Judith so we can ignore him).   The influence of Giordano is easy to see – and many of my same thoughts apply to these works as I shared about Giordano’s.

And I particularly miss the little dog Spot in the final version.  I would much rather have him than the addition of chubby cherubs.

Francesco Solimena, “Judith With The Head Of Holofernes,” 1728-1733, Oil on canvas, 105 x 130 cm, Kunsthistorisches Museum, Vienna, Austria

 

(1) Memorial Art Gallery of the University of Rochester:  Solimena, The Triumph of Judith, 1704-1708

 

Judith and the Big Picture

This section of the artwork of Judith now enters the Big Pictures. The Panoramas. The Crowd and Cloud scenes.

And today is dedicated to two Big Pictures by Luca Giordano.

Luca Giordano, “Judith Displaying the Head of Holofernes,” 1702-1703, Oil on canvas, 103.5 x 71.1 cm, Barnard Castle Bowes, England, UK

This first is “… a sketch for the ceiling painting in the Certosa di San Martino, Naples.” (1)   Which is too bad because I actually like it better.   Probably because it is not as insanely, ornately over-the-top Rococo as the alternate version.  Lacking both angels and injured horses.  And the colors are brighter.  Yes, I have a definite preference.

Luca Giordano, “Judith Displaying the Head of Holofernes,” 1703-1704, Oil on canvas, 102.9 x 77.5 cm, St Louis Art Museum, St Louis, Missouri, USA

As far as the story, the second depiction of Judith is slightly problematic because:

• Holofernes’ headless body is laying on a rock in front of Judith – not back in his tent where it is supposed to be. (and I liked it better with his legs comically sticking out from the rocks as opposed to his bloody neck in my face)
• Judith is on a ledge waving the head around like Perseus waving Medusa – rather than sticking his head on the wall of the city.
• Angels are descending to help in the rout – but there are no angels mentioned in the Apochrypha.

None of these things detract from the concept of Judith as conqueror and savior, but they do get under my skin.   Maybe I am just cranky because I liked it better when the story was simply about Judith and the maid, and now all these party crashers are trying to horn in on her fame.  Maybe the animal violence is unsettling.   Maybe I am afraid an angel will crash land in my lap and poke me in the eye with a pointy wing.

Maybe I just liked it simple.  Humpf.

 

(1) The Bowes Museum: The Triumph of Judith

 

Judith is teaches a lesson

Oh look.  Look Jane look.  Look and see.  See Spot.   See Judith,  See the head.   Funny funny head.  Funny funny Judith.  Funny funny Spot.

Gaspare Traversi , “Judith.” 18th century, Oil on canvas, 135 x 100 cm, Private collection, Milan, Italy

Yes, the children are back. And this time they brought a dog.

Traversi has created Judith as we have seen her before: standing face-foward, holding the head aloft by the hair in one hand,  dressed elegantly but not hoochie, with her gazed lifted heavenward.   I assume she is looking to God and not just showing how bored she is.  It should be no surprise that we have seen this before:  all these Italian artists are related.   Not related by family ties but related as students, teachers and co-workers.

Just with Traversi alone:

• he copied two pictures by Maratta (who copied Reni) –
• under instruction from Solimena –
• who copied Preti and Giordano –
• who were influenced by Veronese

Yes, it is easy to see how this Judith is related to these two:

Oh look.   Look look Dick.  Look and see.  See the twins.  Silly silly twins.  They look bored.

Carlo Maratta, “Judith,” c. 1636-1680, Museo del Palazzo dei Conservatori, Rome, Italy

Guido Reni, “Judith with the head of Holofernes,” 1625 , oil on canvas, 159 x 106 cm, Sedlmayer Collection, Geneva, Switzerland

 

Judith brightens up

Giovanni Antonio Pellegrini, “Judith and her Maidservant with the Head of Holofernes,” c.1710, oil on canvas, 124.7 x 102 cm, Barber Institute of Fine Arts, U of Birmingham, Birmingham, England, UK

This is a Ray of Sunshine.  After dark and dreary days, Pellegrini gives up something bright – almost cheery.

 In contrast to the horrors depicted by 17th-century artists, Pellegrini hides the body in the shadows, and, instead, he concentrates on Judith who looks directly at us, courting our acclaim. The lively brushwork and vibrant colour combinations also create a very different mood from earlier representations. (1)

Why shouldn’t she be happy?  She accomplished her goal, she has a Maid to clean up after her and carry her bag of meat.   And she has jaunty feathers in her in hat.   Coo-coo-kachoo.

(1) The Barber Institute of Fine Art

* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *

www.bridgemanart.com gets a nod of thanks for providing the details that the museum website did not.

 

Judith has a conspiracy theory

What a coincidence! This painting was up for auction last month.

Giaquinto Corrado. “Judith And Holofernes,” c. 1740 oil on canvas, 64.2 x 49 cm, auctioned by Sotheby’s 7/7/2011 (Lot 281)

Sadly, I missed the auction.  Guess I can put away my $20,000.

But I am having a moment of deja vu … wait, it is coming back … it’s almost like yesterday …  except today, Holofernes is a Little Green Man.

You see the resemblance, right?  And it’s related somehow.  The auction.  The abduction.  The grassy knoll.

Yep, Judith works for the Area 51.

 

Judith and the Blue Turban

Something seems familiar here  …  the half nude body of Holofernes draped across the bed with his head thrown back  …  almost like a sacrifice  …

Giovanni Battista Piazzetta, “Judith and Holofernes,” 1745, Oil on canvas, Scuola dei Carmini, Venice, Italy

a HA! it’s Guilia Lama!!

Giulia Lama, “Judith and Holofernes,” c. 1730, Oil on canvas, 107 x 155 cm, Gallerie dell’ Accademia, Venice, Italy

But note: her painting is a later date.   Which means that little minx copied Piazzetta’s idea for the placement of Holofernes.   However, while her Judith prays for strength, Piazzetta’s Judith appears to have strength and is reflecting on her prey.

Piazzetta was known for two things:  his use of intense color and his creation of complex scenes in which his characters are involved in more than is apparent.   Certainly, this piece displays the bright colors in the deep blue skirt and the medium blue turban.   But the complexity is difficult to determine from this small computer image.   Is it the maid peeking into the tent?   Is it the handle of the sword?    Is it the indiscriminate expression on Judith’s face?    This is definitely the moment after his earlier portrayal of Judith, but it seems less complicated in a way.

Looks like i have to go to Venice to find out.

 

Judith chooses her weapon

Here is a unique moment: when Judith takes down Holofernes’ sword from over his bed.

Giovanni Battista Piazzetta,”Judith and Holofernes,” c.1700-1750, oil on canvas, 146 x 118.5 cm, National Gallery of Lower Saxony, Hanover, Germany

Resourceful girl:  instead of dragging a weapon around with her, she surmises that the General will have an instrument of death in his tent – so she borrows his own fauchion to behead him.

I really like this painting.  The tone is soft, the light falls gracefully and Judith looks so elegant as she reaches for the sword.   Almost like a dancer as she wraps her arm around the blade and opens her hand as if to caress.  Against her flawless skin, her rosy cheek and her frivolous feather headpiece, the dull gray of the sword is so harsh.  And in the right shadow of the drapery, the maid is peaking.   I can feel the frozen moment, the slow motion – how everything that happens next will be different.

*  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *  *

i found the details on Zeno.org – but you are on your own for the translation.