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PENCIL OF WORK MURDER AS ONE OF THE FINE ARTS

Best of Thomas de Quincey's book is its title, so that the SGAE forgive me, I decided to borrow it for this post.

die, and kill, are very common themes in art, but low frequency of performances, if you look, there is the weight of the taboo. Following violent death find specific facts, repeated: war, execution, and suicide.
The assassination is not shown, it is a fact that deserves to be perpetuated in the memory, any time any moral support it as intrinsically evil.
And yet exist. The artists overlook this taboo, such as the nude, using iconographic motifs that are associated with violence and death and has been repeated over the centuries.

David and Goliath by Caravaggio

are biblical and historical figures: David and Goliath, murder heroic Cain and Abel, betrayal, Judith and Holofernes, the execution.

To overcome the evil of violence, recourse to the justice of fact. Still, generally choose images that elude the viewer's gaze at the height of death, more violence. With one notable exception.

These are two of the most violent images of Western art:

represent the murder of Holofernes by the heroine Judith, Princess of Bethulia. The story is told in the Old Testament. Judith manages to seduce Holofernes to deliver his people to harassment general. When it is at their mercy, naked and in bed, take the opportunity to behead him. The issue is not new, but it is treatment.

not save any visual depiction. The blood shoots when Judith Holofernes is beheading. As a strong, Judith is aided by a servant.
In the first, the sword for sure, aware of his work, all she has an air of one who is imbued with the law, and complies with dignity a painful duty.

The picture is of Michelangelo Merisi, Caravaggio. We stress the lateral light, strong, creating highly contrasted shadows on the faces of the characters. Holofernes position, lying upside down and gives an idea of \u200b\u200btheir vulnerability. By contrast Judith shown upright, active, which leads us to concentrate his gaze on the direction indicated by his sword. You can see the light curve formed by the arms of both contestants, in parallel with the curve of the curtain. If it is true that Caravaggio inspired him a lot of warm colors in this table reinforce the message such violent reds, yellows and oranges.

The other was painted by a woman, Artemisia Gentileschi, followers of Caravaggio. From this table there are two versions. Differ mainly in color, the former has blue tones in clothing and less space around figures.

The warm tones and the wider space makes it much more mature the second, painted twenty years later.

Looking at the looks and gestures of women, there is nothing heroic about him. Artemisia's Judith is a woman struggling with all his will to undertake a physical act that requires strength, beheaded a man, and not just any man, but a soldier. Even the gesture
torque and disgust. Actively helping the maid is not limited to behold. And the man fights, we are aware of his agony.
lateral light is the teacher, but the composition is richer and more interesting picture. This picture is staged for revenge. Therefore is brutal even in the face of Caravaggio.

Artemisia was epitomized by Judith to purge his demons. She had been raped by her teacher, a certain Tassi. The process is documented, because his father reported him when he refused to marry her. The harshness of the fact itself appears narrated by Artemisia, and you can see in the network. Barely got any punishment for the wrongdoer, and the poor thing had to marry up with another to cover the shame. E
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painting acts as a catharsis, which does not save softens the harshness or facts. It is said that Tassi's face is that of Holofernes, and Judith has the features of the artist.

Some skeptics call this reading the psychoanalytic projection as projected on the table what is known of the artist's life to understand. Clearly, they said, to compose Artemisia is based mainly on aesthetic theories of his time in terms of line, color, composition and graphic-plastic elements. a painter's life has nothing to do with what he paints as it leaves his ego outside the studio to enter into a sterile and purely conceptual world that is art. The ferocity of the face Judith is a year of study, and the choice of theme a page in the Bible opened at random.
I guess it shows that I would doubt it.

seen by Caravaggio Salome

The other woman murders in the history of painting is Salome. But Salome is only the inspiration for the fact the execution of John the Baptist asked who can give the order: Herod. It is represented by Salome and the severed head is morbid, but far less bloody.

Beauty Salome appears Sebastiano del Piombo estranged from her victim.

Catholic Baroque, on the other hand, is populated by m Artira and saints who sought to move the pity of the faithful. This carnage as the subject gets very valuable works of art, some fascinating, but all of them to be read on key moral evil of the perpetrators and the sanctity of the victims.
One murder became the most represented in the entire history of art. East:

But because it was a slow, agonizing, and anonymous collective responsibility was chosen to represent a range of times over time.

After this excess murder fell back into the limbo of the topics were suggested, but no display.

Thus, sparing us the stab David Marat, and the heroic performances remain in the tragic moment before.

The execution of Torrijos Gisbert.

The softness of Delaroche: Execution of Lady Jane Grey

Goya only ignores the tacit ban shows that tremendous catalog of atrocities that are the disasters of war. We return to the human suffering to human violence, but even if we moved, we could say that Goya is shown with a critical mind, but objectively.

In today's language, it's nothing personal. Quite the contrary is clear from Artemisia box, is something personal between Judith and Holofernes, there is no objective distance, no heroism, only justice in the Old Testament law of retaliation.