Who painted Judith Beheading Holofernes?

Judith Beheading Holofernes was painted by Cornelis Galle I in 1610.

Where can I see Judith Beheading Holofernes?

Judith Beheading Holofernes is held by National Gallery of Art.

What movement is Judith Beheading Holofernes?

Judith Beheading Holofernes is associated with Baroque.

Artwork

Judith Beheading Holofernes

Cornelis Galle I , 1610

Judith Beheading Holofernes is an ink print by the Baroque artist Cornelis Galle I. It dates from 1610 and is held in the collection of the National Gallery of Art.

About this work

Overview

Cornelis Galle the Elder’s engraving *Judith Beheading Holofernes*, executed around 1610, presents a violent biblical episode with striking immediacy. The composition centers on Judith, sword raised, poised to end the life of the Assyrian general Holofernes, while a second female figure looks on. Above the scene, four winged beings hover, adding a supernatural dimension to the drama.

Subject & Meaning

The print visualizes the Old Testament story in which Judith, a widow, saves her people by decapitating the invading commander Holofernes. The tension between the decisive act of the sword‑wielding woman and the anguished posture of the fallen general underscores themes of courage, divine intervention, and the reversal of power.

Technique & Style

Galle employs fine, closely spaced lines and cross‑hatching to generate deep shadows and a strong chiaroscuro effect, giving the figures a sculptural presence. The engraving, produced by incising a metal plate and pressing ink onto paper, demonstrates the artist’s mastery of line work to model volume and convey movement within a compact visual field.

History & Provenance

Born in Antwerp in 1576, Galle was instructed in engraving by his father, Philip Galle, before spending a formative period in Rome. After returning to his native city, he achieved master status in the Antwerp Guild of Saint Luke and operated a successful print‑selling workshop, where this self‑designed composition was circulated.

Context

The work reflects the early‑17th‑century Flemish interest in biblical subjects rendered with dramatic intensity, a trend reinforced by Galle’s exposure to Italian artistic currents during his Roman stay. By integrating his own design with the technical rigor of Northern engraving, the print bridges the stylistic sensibilities of both regions.