The Kimbell Art Museum in Ft. Worth, Texas, is displaying Caravaggio’s “Judith Beheading Holofernes” as a Guest of Honor on loan from the Gallerie Nazionali di Arte Antica in Rome, where it normally hangs in the Palazzo Barberini. The monumental canvas ranks among Caravaggio’s most groundbreaking masterpieces for its bold realism and the theatrical staging of its biblical subject. The painting will be on view in the Louis I. Kahn Building through January 11, 2026.
“The Kimbell’s audiences are fortunate to be able to experience this fall and into the new year one of Caravaggio’s most dramatic and famous paintings,” said Eric M. Lee, director of the Kimbell Art Museum. “A star of the recent, historic Caravaggio exhibition in Rome that attracted more than 450,000 visitors, Judith Beheading Holofernes joins the Kimbell’s own beloved painting by Caravaggio, The Cardsharps. These two works, along with our recent acquisitions of a moving Mary Magdalene by Artemisia Gentileschi and a striking still life by the artist known as the Pensionante del Saraceni, will offer a rare perspective on the revolution in art initiated by Caravaggio and his followers.”
Approximately six feet wide and five feet tall (195 x 145 cm), Judith Beheading Holofernes narrates a passage from the Book of Judith in the Old Testament Apocrypha. The protagonist is a beautiful young widow from a Jewish town that is under attack by the Assyrian army, led by the general Holofernes. She dresses in finery and visits the enemy camp with her maid under the pretense of helping Holofernes defeat the Israelites. After a banquet, the general falls into a drunken stupor, and Judith courageously decapitates him with his own sword, liberating her people.
Popular in art and literature since the Middle Ages, the story of Judith and Holofernes affirmed the triumph of virtue over vice, tyranny, or heresy. While most artists show Judith after the grisly deed, victoriously holding Holofernes’s severed head, Caravaggio depicts her at the critical moment, delivering the blow that will end the general’s life. Spotlit inside the tent, the actors appear to be shockingly within our reach. Resolute, Judith prays silently, as divine light courses through her arms to empower her heroic feat. She grips Holofernes’s hair as blood streams from his severed neck onto the white linen. His muscular body still roiling, Holofernes screams as he passes from life to death. Transfixed by this spectacle, Judith’s maid opens her sack to hide their trophy when they steal away from the camp.
Michelangelo Merisi was born in the town of Caravaggio in the north of Italy in 1571. Moving to Rome around 1595, the painter—who became known as Caravaggio—soon won the attention of the papal city’s elite and his fellow artists. Painted directly from live models with strong contrasts of light, his dramatic and innovative pictures—like the Kimbell’s iconic “The Cardsharps” (c. 1596–97)—were widely imitated. The Barberini painting’s first owner, the wealthy banker Ottavio Costa, treasured the masterpiece so highly that he covered it with a silk curtain and stipulated in his will that it should not be sold or removed from his family’s collection.
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