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The Return of Judith to Bethulia

Sandro Botticelli • Painting, 1470, 31×24 cm
$54.00
Digital copy: 1.6 MB
2040 × 2745 px • JPEG
24 × 31 cm • 216 dpi
34.5 × 46.5 cm • 150 dpi
17.3 × 23.2 cm • 300 dpi
Digital copy is a high resolution file, downloaded by the artist or artist's representative. The price also includes the right for a single reproduction of the artwork in digital or printed form.
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About the artwork
Art form: Painting
Subject and objects: Landscape, Religious scene
Technique: Tempera
Materials: Wood
Date of creation: 1470
Size: 31×24 cm
Artwork in selections: 31 selections
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Description of the artwork «The Return of Judith to Bethulia»

The paintings of the great Italian Renaissance painter Sandro Botticelli rightly occupy pride of place in the world art treasury. Any painting by Botticelli, whether it was painted in his early career or in his mature years, strikes the viewer with bright vivid colors and elaborate, and “Judith” is not an exception.

Botticelli “The Return of Judith to Bethulia” is part of a diptych that was painted in 1472. At the time of the creation of this painting, Botticelli had already tried himself as a painter: several of his earlier works featured Madonnas. They showed the bright talent of the young artist who sought to find his signature style, while still imitating the recognized masters like Masaccio and Lippi.

By 1470, Sandro carved out his unique manner and opened his own , where Botticelli “Judith” appeared. The subject is based on the biblical parable of the heroism of Judith, a young widow from the besieged by the Assyrian king Holofernes city Weilue. Her courage and dedication to the citizens helped to defeat massive enemy troops and deliver her city from the invaders.

Holofernes, who besieged the city, was famous for his cruelty and lust. The fate of beautiful women from the occupied cities was unenviable: in the best case, they were to live a monotonous life in the Royal harem, at worst — they had to die. Knowing that, Judith decided to take a desperate step. Having convinced the elders not to rush the surrender of the city, the young widow in the attire of a courtesan went to Holofernes. Seeing a beautiful woman, the king demanded to bring her to him. At night when the drunken Holofernes fell asleep, Judith cut off his head with his sword, and then walked out of the camp quietly passing the sleeping guards.

In his “Judith” Botticelli captured the moment of the Judith’s return with the bloody trophy, which brought deliverance from the oppression of the invaders. Accompanied by a servant, the girl walks along the path. Their steps are swift and light, the morning breeze ruffles the folds of the robes. The face of the young widow is sad, and her fragile appearance is completed with the symbolic attributes of victory, an olive branch that decorate the basket with the head of Holofernes, and the Royal sword.

The whole scene is filled with light and air: the space behind the figures of the girls is a clear sky, and only in the distance the houses can be seen. Unlike other artists who used the same subject and depicted Judith in the image of the temptress, Botticelli painted her as a symbol of determination and dedication.



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