Judith and Holofernes (1457-1464) [1] is a bronze sculpture by the Italian Renaissance sculptor Donatello at the end of his career. It is located in the Hall of Lilies (Sala dei Gigli), in the Palazzo Vecchio, Florence, Italy. A copy stands in one of the sculpture's original positions on the Piazza della Signoria, in front of the Palazzo Vecchio. Judith and Holofernes is a bronze sculpture completing by Donatello whilst at the height of his powers The sculpture came late in his career, with it loosely dated at 1457-1464. It is highly unlikely to have taken seven years to complete so this wide date is due to a lack of supporting documentation from around that time.
The Sword of Judith 17. Donatello’s Judith as the Emblem of God’s
Judith and Holofernes was commissioned by Cosimo de Medici to stand beside fellow tyrant-slayer David (another of Dontaello's works) in the garden of the Medici palace. Judith and Holofernes by Donatello Courtesy of www.Donatello.net Donatello created the spectacular bronze piece Judith and Holofernes near the end of his life and career. The piece was one of just a few completed after Donatello returned to Florence from Padua between 1457-1464. Donatello's statue Judith and Holofernes (1457-1464) was commissioned by Cosimo de' Medici to decorate the Medici Palace garden, where it was placed alongside Donatello's bronze David (1440). The placement of the sculptures at the most public spaces of the palace and the center of Florentine's political power explain their intention and function. Judith, described as a beautiful young widow, resolves to save her people by slaying Holofernes herself. After reciting a long prayer to God, she dons her finest clothes in order to seduce him. After Holofernes has drank enough wine to become intoxicated, Judith decapitates him with his own sword, winning a decisive victory for the Israelites.
Donatello's Judith & Holofernes Florence a photo on Flickriver
Two works — the lion known as "Marzocco" and a statue of "Judith and Holofernes" — are installed in front of the Palazzo Vecchio, the city's civic heart and a prestigious showcase for. Judith and Holofernes is a bronze sculpture by the Italian Renaissance sculptor Donatello at the end of his career. It is located in the Hall of Lilies , in the Palazzo Vecchio, Florence, Italy. A copy stands in one of the sculpture's original positions on the Piazza della Signoria, in front of the Palazzo Vecchio. 1 This essay addresses the different symbolic resonances that Donatello's Judith and Holofernes (Fig. 17.1) acquired when, in 1495, the newly reinstated Florentine Republic appropriated it from the Palazzo Medici, changed the inscriptions on the base, and transferred the ensemble to the ringhiera, the elevated platform that fronts the wall of th. The story of Judith's defense ry or virtue: both statue and inscription provided the unequiv- of her homeland celebrates the victory of the weak over the ocal answer in favor of the latter route. But what should be strong. For Florentines, the story could have represented the made of this answer?
Freya's Florence LAOCOON
DONATELLO (b. ca. 1386, Firenze, d. 1466, Firenze) Judith and Holofernes 1455-60 Bronze, height 236 cm (without base) Palazzo Vecchio, Florence To his early, free-standing bronze statue of David, Donatello added a late masterpiece of similar quality in the form of his Judith and Holofernes group. Art Form Born of the Renaissance Era, Judith and Holofernes focuses on naturalism as was the case with most of Donatello's creations. This statue was one of the first to employ an "in the round" (360 degree) method of sculpture, accurately displaying four unique faces.
Donatello, Judith and Holofernes, 1460, bronze, 236 cm high (Palazzo Vecchio, Florence; photo: Dimitris Kamaras, CC BY 2.0) Artemisia Gentileschi was clearly proud of the Uffizi Judith Slaying Holofernes, signing it in the lower right corner. In it she demonstrated her mastery of the language of Baroque realism, exploiting its emphasis on. Judith and Maidservant with the Head of Holofernes is the least blood-soaked and violent, though perhaps the most furtive, of the four compositions she created on this theme. The art historian Letizia Treves judged that, with this work 'Artemisia rightly takes her place among the leading artists of the Baroque'.
A discussion of Judith and Holofernes by Donatello
Judith appears proud of her deed and sure of her divine protection. The figurative theme of Judith and Holofernes was very popular in Florence, mainly thanks to the bronze sculpture by Donatello erected in the Piazza della Signoria in 1494 (now on display in the Hall of Lilies in the Palazzo Vecchio), and became a representation of guile. Donatello had collaborated with the sculptor Rosso, on a planned two-figue group depicting Abraham and Isaac for the Campanile. This group depicted Isaac kneeling below Abraham with one knee protruding from the base, and Abraham's head in profile, a closely similar composition later developed by Donatello in the Judith and Holofernes group.
