Gentileschis Judith i Oslo

Abstract

Summary The painting Judith and the maidservant with the head of Holofernes (oil on canvas, 136 x 159,5) inven.no 02073, came to the National Gallery (NG ) in Oslo as a Caravaggio in 1945, was reattributed to Orazio or Artemisia Gentileschi in 1951, and is today attributed to Orazio (1563-1639) by NG and most scholars, while a small minority has pointed at Artemisia (1593-1653). The Judith is unsigned and undated (probable dating varies from 1608-1616). There were no earlier documents known to the NG than from a sale in Paris in 1895, when the painting was bought by Wang Kunsthandel and sold to a private collection in Norway, whose estate subsequently sold it to NG. This thesis is quoting an Italian researcher bringing the provenance now back to 1817, and discussing an earlier text presenting the work. Because of the lack of written material, the painting itself is the most important witness to its own history and main source of knowledge. The thesis concentrates on finding as much as possible based on the object, combined with earlier research and new comparative analysis. The methods used are the most classic tools in art history. In kind cooperation with the NG it has also been possible to follow the new technical investigations, including pigment-tests and Xrays, which has enabled a thorough analysis of the work. This confirms for the first time that all pigments correspond to the 1600s, while the stylistic analyses confirm the affiliation with the Gentileschi studio. The X-rays reveal a possibility of another background. The thesis has focused on the motive depicted in Oslo by a rather deep dip into Judith s iconography from the Book of Judith, and by identifying Judith s red brocade dress, searching for possible patrons. The path leads (among others) to the Medici-family in Florence, although it is not possible to conclude in lack of written documents. While discussing the problematic methods of attribution in general, shortcomings of stylistic comparisons and especially problems with the authorship of father and daughter in other works, the aim has been to look closely at the material mainly by widening the comparative analyses with the 12 other known Judith-works by the Gentileschis. Describing and building on earlier research, the comparisons have focused on new questions and arguments into mainly three areas: 1) Composition, 2) Use of dramatic and psychological instruments and 3) Use of jewelry and symbols. The formal analysis points to both father and daughter. A special cameo with a symbol in the hair of Oslo-Judith bears a strong resemblance to other Judiths by Artemisia, as noted in international research since 1991, but barely mentioned in Norway. By comparing the symbol in this piece of jewelry to those in all of Artemisia s Judiths, and quoting earlier research, it is possible to find a connecting thread through all of them. Artemisias active use of symbols strengthens both the virtue and the virtù of her Judiths through the depiction of Greek goddesses, and the thesis concludes that the work in Oslo is in fact a Judith-Athena. The thesis also compares Judith in Oslo with Susanna and the elders in Pommersfelden. Although it may never be possible to conclude with certainty about the authorship, (and considering that the father probably often helped his daughter in the beginning), the thesis pinpoints several arguments for the daughter s hand in the painting.

Summary The painting Judith and the maidservant with the head of Holofernes (oil on canvas, 136 x 159,5) inven.no 02073, came to the National Gallery (NG ) in Oslo as a Caravaggio in 1945, was reattributed to Orazio or Artemisia Gentileschi in 1951, and is today attributed to Orazio (1563-1639) by NG and most scholars, while a small minority has pointed at Artemisia (1593-1653). The Judith is unsigned and undated (probable dating varies from 1608-1616). There were no earlier documents known to the NG than from a sale in Paris in 1895, when the painting was bought by Wang Kunsthandel and sold to a private collection in Norway, whose estate subsequently sold it to NG. This thesis is quoting an Italian researcher bringing the provenance now back to 1817, and discussing an earlier text presenting the work. Because of the lack of written material, the painting itself is the most important witness to its own history and main source of knowledge. The thesis concentrates on finding as much as possible based on the object, combined with earlier research and new comparative analysis. The methods used are the most classic tools in art history. In kind cooperation with the NG it has also been possible to follow the new technical investigations, including pigment-tests and Xrays, which has enabled a thorough analysis of the work. This confirms for the first time that all pigments correspond to the 1600s, while the stylistic analyses confirm the affiliation with the Gentileschi studio. The X-rays reveal a possibility of another background. The thesis has focused on the motive depicted in Oslo by a rather deep dip into Judith s iconography from the Book of Judith, and by identifying Judith s red brocade dress, searching for possible patrons. The path leads (among others) to the Medici-family in Florence, although it is not possible to conclude in lack of written documents. While discussing the problematic methods of attribution in general, shortcomings of stylistic comparisons and especially problems with the authorship of father and daughter in other works, the aim has been to look closely at the material mainly by widening the comparative analyses with the 12 other known Judith-works by the Gentileschis. Describing and building on earlier research, the comparisons have focused on new questions and arguments into mainly three areas: 1) Composition, 2) Use of dramatic and psychological instruments and 3) Use of jewelry and symbols. The formal analysis points to both father and daughter. A special cameo with a symbol in the hair of Oslo-Judith bears a strong resemblance to other Judiths by Artemisia, as noted in international research since 1991, but barely mentioned in Norway. By comparing the symbol in this piece of jewelry to those in all of Artemisia s Judiths, and quoting earlier research, it is possible to find a connecting thread through all of them. Artemisias active use of symbols strengthens both the virtue and the virtù of her Judiths through the depiction of Greek goddesses, and the thesis concludes that the work in Oslo is in fact a Judith-Athena. The thesis also compares Judith in Oslo with Susanna and the elders in Pommersfelden. Although it may never be possible to conclude with certainty about the authorship, (and considering that the father probably often helped his daughter in the beginning), the thesis pinpoints several arguments for the daughter s hand in the painting.