Who painted Judith with the Head of Holofernes?

Judith with the Head of Holofernes was painted by Aegidius Sadeler II in 1592.

Where can I see Judith with the Head of Holofernes?

Judith with the Head of Holofernes is held by National Gallery of Art.

What movement is Judith with the Head of Holofernes?

Judith with the Head of Holofernes is associated with Renaissance.

Can I buy a print of Judith with the Head of Holofernes?

Museum-quality prints of Judith with the Head of Holofernes are available made-to-order from Artifact World Gallery.

Artwork

Judith with the Head of Holofernes

Aegidius Sadeler II , 1592

Judith with the Head of Holofernes is an ink print by the Renaissance artist Aegidius Sadeler II. It dates from 1592 and is held in the collection of the National Gallery of Art.

Inscription: Inscribed:below image: Faemina, uina, dapes, martem strauêre potentem, / Seruarunt patriam faemina, liimpha, preces. / Hîc uel in imbelli grid sobria pectora sexu / Possint, inqué viro mens temulenta, patet / H: van Ach: Inue: / Egidi Sadeler Sculp Ioan Sadeler exc:

About this work

Overview

Aegidius Sadeler II’s 1592 engraving presents the biblical heroine Judith clutching the severed head of the Assyrian general Holofernes.

Aegidius Sadeler II’s 1592 engraving presents the biblical heroine Judith clutching the severed head of the Assyrian general Holofernes. Executed on laid paper, the image captures a dramatic moment of triumph and violence, rendered in the stark chiaroscuro typical of late‑sixteenth‑century printmaking. The composition centers on Judith’s determined gaze, emphasizing both the physical act and its moral resonance.

Subject & Meaning

The work illustrates the Old Testament story in which Judith, a Jewish widow, beheads the invading commander Holofernes to save her people. By highlighting her steady hand and resolute expression, the engraving underscores themes of female agency, civic virtue, and divine justice that resonated with contemporary audiences and were frequently revisited by Renaissance and Mannerist artists.

Technique & Style

Sadeler employs fine cross‑hatching and varied line density to model flesh, fabric, and the metallic sheen of the sword, creating a convincing sense of volume on the flat surface of the paper. The use of laid paper, with its visible ribbed texture, adds subtle tonal variation, while the dark, gradated background deepens spatial depth and focuses attention on the central figures.

History & Provenance

A native of the Low Countries, Sadeler worked at the imperial court in Prague under Emperor Rudolf II and his successors, a hub for Northern Mannerist art. The engraving was likely produced for the court’s extensive print market, circulating among collectors across Europe. Surviving impressions are documented in several major museum collections, confirming its wide distribution during the late 16th and early 17th centuries.

Achilles at the Court of Lycomedes, Cornelis Visscher

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Artist & collection

Artist

Aegidius Sadeler II

Aegidius Sadeler or Aegidius Sadeler II (1570–1629) was a Flemish engraver who was principally active at the Prague court of Rudolf II, Holy Roman Emperor and his successors.