Along with Salome (Dreams of Desire 22 (The Apparition) and Lilith (My Evil Is Stronger and Dreams of Desire 44 (Lilith) Judith was one of the triumvirate of Biblical femme fatales that held sway over the Decadent imagination.
In the apocryphal Book of Judith, the beautiful, daring young widow Judith (feminine form of Judah), distressed by her fellow Jews lack of faith in God to deliver them from the Assyrian conquerors, ingratiates herself with the General Holofernes. Having gained his trust she is admitted into his tent where he is lying in a drunken stupor. With the help of her loyal maid she proceeds to decapitate Holofernes and shows the severed head to an awe-struck crowd of her fellow-countrymen. The Assyrians demoralised by the loss of their leader retreat and Israel is liberated from the foreign threat.
The story of Judith was a popular source of art from the Middle Ages to the Baroque. The Symbolists interpenetration brought the perverse and sadistic elements to the forefront. The great Austrian Symbolist painter and Viennese Secessionist Gustav Klimt’s (The Succubus) Judith I of 1901 was the cause of considerable scandal when first exhibited. The focus of the painting is Judith, only a part of the decapitated head of Holofernes is shown and even that is regulated to the bottom right-hand corner, beneath the exposed breast of Holofernes. With an expression of rapt depravity Judith caresses the head, all set against a ornately gilded, Art Nouveau decorative background.
An interesting comparison with Klimt’s Judith is with two masterpieces from the Baroque period on the same subject, Caravaggio’s Judith Beheading Holofernes circa 1599 and Artemisia Gentileschi’s Judith Slaying Holofernes 1614-1620. Here the paintings are concerned with the act of murder itself. Caravaggio who led a tumultuous life and would die on the run after killing Ranuccio Tomassoni, manages to convey with his trademark chiaroscuro all the tension and ambivalence Judith must have felt as she saws through the neck of Holofernes, while Gentileschi’s Judith surpasses Caravaggio (she was the most famous of the Caravaggisti, followers of Caravaggio) in showing the bloodiness and sheer physicality of the scene. It has been interpenetrated as a vivid rape revenge fantasy.