In six pages the feminist elements in Gentileschi's art as reflected in this particular work are discussed. Five sources are cited in the bibliography.
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observer. It is essential to also look beyond the young artists obvious intention with regard to the history of gender, feminism and patriarchal control so as not to miss
the grand but elusive subtleties. To be sure, Gentileschis artistry incorporates a significant amount of blatancy while also implying considerable obscurity, which is a dichotomy that has served her
well in relation to womens place in historical society. "By making crucial what is not in the visual field and excluded by the pictures frame (though clearly in its
scope), Artemisia introduces a powerful disturbance in the beholders form of attention, raising a question which the beholder cannot answer" (Berdini, 1998, p. 565). The 1625 oil-on-canvas Judith and
Her Maidservant with the Head of Holofernes provides a particularly unique insight into the relationships that existed between and among men, women, society and the outright expectations from them all.
Also evident within the very essence of these historically feminist creations is the manner in which it illustrates the compassion inherent within such a master artisan as Artemisia Gentileschi.
Considered "one of her best works" (Brash, 2002), Judith and Her Maidservant with the Head of Holofernes reflects the angst so commonly portrayed
in Gentileschis work. With the prospect of danger forever just around the corner, Judith and her maidservant Abra keep a keen eye out for any unexpected visitors, ready at
once to leave at a moments notice, which is clearly heightened by the use of "dramatic and unusual chiaroscuro lighting, especially the shadows on Judiths face" (Brash, 2002), which are
cast by an effective and solitary candle flickering in the background. Fueled by rape, Gentileschi road to female freedom and self-expression has been