Currently not on view
Judith and the Head of Holofernes
More Context
Handbook Entry
Wtewael traveled to Italy in his youth and would have known that the Old Testament heroine Judith was a popular subject for Catholic artists from Donatello to Caravaggio. For this Dutch Calvinist artist, Judith is probably an allegorical symbol of the victory of God’s chosen people over an enemy — the Dutch Protestants, who considered themselves the successors of the Jewish people, declared their independence from Spain in 1579. Here, Judith, dressed in acidic colors with her gown open at the navel, holds the sword with which she struck the blow. Her splayed fingers are reminiscent of the artificial poses favored by the influential artist Bartholomeus Spranger (1546–1611). The maidservant peers at the body as Judith rests a hand on his head and raises her eyes to heaven. The purchase of this work marked the beginning of a series of acquisitions of Dutch Mannerist paintings that has made the Museum the richest repository for such works in America and, arguably, anywhere outside the Netherlands. The Museum was thus in the vanguard of the revaluation and study of northern European art around the year 1600, the age of Shakespeare in England, an era that has profoundly marked the modern English-speaking world. As perhaps the Museum’s most extreme painting exemplifying the ornamental tendencies of the period, <em>Judith and Holofernes</em> has parallels with some of the distortions and displacements in the rhetorical conceits of Elizabethan England and thus enriches our understanding of that culture.
Campus Voices
<p>This painting is Wtewael’s interpretation of a Biblical subject that has been variously depicted for centuries. It deftly bridges the didactic nature of the traditional Christian interpretation of Judith in the Netherlands as pious and chaste to Judith’s rebirth as a strong, sexual woman and liberator from tyranny. While this painting’s attribution has been and continues to be debated, credited to painters like Cornelis van Haarlem and Abraham Bloemaert, there is little doubt that the Princeton Judith exemplifies the ‘stylish style’ of Northern Mannerism for which Wtewael was known. She is painted here with a silvery tone and a diverse palette of unusual and acidic colors, and her contorted, voluptuous figure ripples with muscularity.</p><p><em><strong>Matthew Pickering, Class of 2024</strong></em></p>
Information
ca. 1595–1600
Robert E. Peters (by 1966–75; sale, Sotheby’s New York, March 6, 1975, lot 89, to Princeton University Art Museum).
<em>An exhibition of paintings, sculpture, furniture, porcelain, from the collection of Mr. & Mrs. Robert Edward Peters, St. Paul Art Center, 14 July- 3 October, 1966</em>, (St. Paul, MN: St. Paul Art Center, 1966)., no. 70 (illus.)
4823 1966Sotheby Parke Bernet Inc. 1975. <em>Important old master paintings</em>, sale code 3734. 6-7 March 1975, New York., no. 89
4824 1975"Acquisitions", <em>Art journal</em> 35, no. 4 (Summer, 1976): p. 403-409., p. 405; p. 406 (illus.)
4825 1976"Acquisitions of the Art Museum 1975," <em>Record of the Art Museum, Princeton University,</em> 35, no. 1 (1976): p. 22-31., p. 23 (illus.)
3366 1976Anne Walter Lowenthal, "Three Dutch Mannerist paintings", Record of the Art Museum, Princeton University 36, no. 1 (1977): p. 12-21., p. 12-21, fig. 6
4814 1977Peter C. Sutton, <em>A guide to Dutch art in America</em> (Washington, D.C.: Netherlands-American Amity Trust; Grand Rapids: Eerdmans, 1986)., p. 242; fig. 362
446 1986Anne W. Lowenthal, <em>Joachim Wtewael and Dutch mannerism</em>, (Doornspijk, Netherlands: Davaco, 1986)., pl. 17; A-12, p. 90-91 (illus.)
4826 1986Allen Rosenbaum and Francis F. Jones,<em> Selections from The Art Museum, Princeton University, </em>(Princeton, NJ: The Art Museum, Princeton University, 1986), p. 55 (illus.)
1899 1986<em>Princeton University Art Museum: Handbook of the Collection</em> (New Haven, CT: Yale University Press, 2007), 172 (illus.)
474 2007<em>Princeton University Art Museum: Handbook of the Collections </em>(Princeton, NJ: Princeton University Art Museum, 2013), p. 222
1994 2013Lawrence W. Nichols, "Joachim Wtewael: Utrecht; Washington; Houston", <em>Burlington magazine</em> 157, no. 1348 (Jul., 2015): p. 501-502., p. 501-502
4827 2015James Clifton et. al., <em>Pleasure and Piety: the Art of Joachim Wtewael</em> (Washington, DC: National Gallery of Art, 2015),, pp. 76-78
4828 2015