Judith Beheading Holofernes was painted in 1602, this painting of Judith beheading Holofernes by Caravaggio. Judith is a widow who charms the Assyrian general Holofernes first, then executes him at his camp. The painting was relived in 1950 and is now part of the Galleria Nazionale d'Arte Antica collection located in Rome.
Recognizing real Caravaggios is a little more complicated because he has a strange place in the history of art. He was notorious and famous in the 17th century and he enthused many imitators and his style was potent, from Dutch to Gentileschi artists for example Gerrit van Honthorst. These “Caravaggisti” spread Caravaggio’s powerful aesthetic and operated all over Europe. But he was also condemned and hated. It was not so much of his violent life or being known for homosexuality …show more content…
Other classical painters such as Poussin were taken more serious by others. By the 18th century, Caravaggio was overlooked and forgotten. He has only been revered anew and rediscovered since about 1950. That is why it is possible to find a Caravaggio in an attic, in theory. There is one possible explanation for the Toulouse picture which is that it was painted by a follower of Carravagio, from the northern, as some experts from French appears to believe. Yet it is more awkward than that. Other artist who emulated Caravaggio did not pastiche him, they were indirect. They used his violent sensuality, innovative light effects, and acute realism in imaginative, individual ways. The red draperies in the Toulouse painting, the pose of Holofernes, is a classic Caravaggio. However, the poses are too unreal, are too lame, too confused, too flaccid, to be the work of a prominent psychological realist. These people who tries to imitate do not behave like Caravaggio’s people behave. There is a fundamental absence of energy. The result is unpleasant and
Recognizing real Caravaggios is a little more complicated because he has a strange place in the history of art. He was notorious and famous in the 17th century and he enthused many imitators and his style was potent, from Dutch to Gentileschi artists for example Gerrit van Honthorst. These “Caravaggisti” spread Caravaggio’s powerful aesthetic and operated all over Europe. But he was also condemned and hated. It was not so much of his violent life or being known for homosexuality …show more content…
Other classical painters such as Poussin were taken more serious by others. By the 18th century, Caravaggio was overlooked and forgotten. He has only been revered anew and rediscovered since about 1950. That is why it is possible to find a Caravaggio in an attic, in theory. There is one possible explanation for the Toulouse picture which is that it was painted by a follower of Carravagio, from the northern, as some experts from French appears to believe. Yet it is more awkward than that. Other artist who emulated Caravaggio did not pastiche him, they were indirect. They used his violent sensuality, innovative light effects, and acute realism in imaginative, individual ways. The red draperies in the Toulouse painting, the pose of Holofernes, is a classic Caravaggio. However, the poses are too unreal, are too lame, too confused, too flaccid, to be the work of a prominent psychological realist. These people who tries to imitate do not behave like Caravaggio’s people behave. There is a fundamental absence of energy. The result is unpleasant and