1. Also, can I talk about how much better Artemesia Gentileschi’s version of Judith beheading Holofernes is compared to Cara-fucking-vaggio’s. Like, from a technical standpoint, she actually displays a knowledge of  how a tensed neck would react to being slit open, particularly with regards to how blood would not fucking shoot out if you were using a sawing motion on the neck. And from an analytic perspective…holy shit. For one, the servant is shown to actually being helpful and youthful, which is awesome, because, one, it shows that both women had the foresight to know to hold Holofernes, a very strong man, down, two, that both women, despite their young age, were capable of an extreme act of bravery, whereas having an older, uglier women would seem to have the implication that she was a kindly person just doing a favor, as opposed to an empowered co-conspirator, and three, Judith seems completely calm in Gentileschi’s, while Carivaggio makes her seem like a frightened girl. Genileschi’s Judith is sick and tired of this motherfucking Holofernes being an oppressive fuck in this motherfucking region. She knows that what she is doing is right and isn’t disgusted by it because she is in complete control and knows that it is completely necessary. She won’t let some blood and convulsing freak her out. She stands close to the body and steadies his head forcefully to get this fucking thing over and done with so her people can live without constant fear once again.

     
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      Senior year art history obsession throwback!
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      Artemisia has been my heroine for years- her “Cleopatra” is at the VMFA, and many of her works are in the most prominent...
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      [tw: rape] She also painted this while she was seeking justice against her rapist (which was pretty much unheard of at...
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      Reblogging because I’m a fan of people who can express their perspective with eloquence and understanding. That being...
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