  About the Artwork
  
  
  Judith was a biblical Jewish heroine who used her beauty to seduce, then decapitate, the commander-in-chief of the Assyrian army, Holofernes, and thus save her people. The book of Judith is included in the Old Testament Apocrypha.
Executed in the last decade of the artist's long life, this interpretation of Judith's story shows Titian's extraordinary freedom of style. Not only has the artist altered the traditional iconography of the subject by replacing the old woman attendant with a black page, but the lower part of the picture displays the loose and broken brushstrokes typical of Titian's late pictures. While the contrast between the expressionist face of the giant and the smooth texture of Judith's is jarring, it also reinforces the disparity between the heroine and her conquest, as if femininity has won over roughness and violence.
  
  
  Title
  Judith and Her Maidservant with the Head of Holofernes
  
  
  Artwork Date
  ca. 1570
  
  Artist
  Titian
  
  
  
  Life Dates
  ca.1488-1576
  
  
  
  
  Nationality
  
  
  
  Please note:
  Definitions for nationality may vary significantly, depending on chronology and world events.
  Some definitions include:
  Belonging to a people having a common origin based on a geography and/or descent and/or tradition and/or culture and/or religion and/or language, or sharing membership in a legally defined nation.
  
  
  
  Italian
  
  
  
  Culture
  
  
  
  Please note:
  Cultures may be defined by the language, customs, religious beliefs, social norms, and material traits of a group.
  
  
  
  
  Venetian
  
  
  Medium
  Oil on canvas
  
  
  Dimensions
  Unframed: 44 3/8 × 37 3/8 × 7/8 inches (112.7 × 94.9 × 2.2 cm)
  Framed: 54 1/2 × 48 × 3 3/4 inches (138.4 × 121.9 × 9.5 cm)
  
  
  Classification
  Paintings
  
  
  Department
  European Painting
  
  
  Credit
  Gift of Edsel B. Ford
  
  
  
  Accession Number
  
  
  
  This unique number is assigned to an individual artwork as part of the cataloguing process at the time of entry into the permanent collection.
  Most frequently, accession numbers begin with the year in which the artwork entered the museum’s holdings.
  For example, 2008.3 refers to the year of acquisition and notes that it was the 3rd of that year. The DIA has a few additional systems—no longer assigned—that identify specific donors or museum patronage groups.
  
  
  
  35.10
  
  
  Copyright
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