Judith with the Head of Holofernes

Judith with the Head of Holofernes is an oil-on-canvas painting created by Simon Vouet. While one record dates the work to 1617, another attributes its execution to the period between 1620 and 1622. The support consists of canvas, and the medium is oil paint.

The composition depicts the biblical figure Judith holding the severed head of Holofernes, categorizing the piece within the genre of religious art. The physical dimensions of the work are 115 cm in height and 86 cm in width.

Attributed to Simon Vouet, this oil-on-canvas painting depicts the biblical figure Judith holding the severed head of Holofernes. While internal records date the work to 1617, other scholarship places its execution between 1620 and 1622. The canvas measures 115 cm in height and 86 cm in width.

The artwork is currently held in the collection of the Kunsthistorisches Museum in Vienna. No specific details regarding its original commission or intermediate ownership history prior to entering the museum's holdings are provided in the available sources.

The painting Judith with the Head of Holofernes is held in the collection of the Kunsthistorisches Museum in Vienna. While the work is attributed to Simon Vouet, sources provide conflicting dates for its creation, citing either 1617 or the period between 1620 and 1622. The artwork is cataloged within the museum's holdings as an oil-on-canvas piece depicting the biblical subject of Judith and Holofernes.

No specific inventory or accession number is provided in the available records, nor is there documentation regarding a history of exhibitions for this particular work.

Simon Vouet’s oil on canvas, dated between 1620 and 1622, depicts the biblical heroine Judith clutching the severed head of the Assyrian general Holofernes. The work is part of the collection of the Kunsthistorisches Museum in Vienna and exemplifies the artist’s early output before his relocation to Italy.

At the time of its execution, Vouet was establishing his reputation in Paris, producing works that combined French elegance with the dramatic intensity of Italian Caravaggisti. This painting marks a transitional moment, illustrating his engagement with biblical subjects that appealed to both courtly patrons and the religious climate of post‑Council of Trent Europe.