Judith with the Head of Holofernes
Statuette
ca. 1550 (made)
ca. 1550 (made)
| Artist/Maker | |
| Place of origin |
The techniques used in carving in wood and stone were fundamentally the same. First the sculptor carved the rough shape of the piece, a process known as ‘blocking out’. Then, he would work the surface with knives or chisels and abrasives. The figure was generally held horizontally at a workbench and attached to cylindrical shafts, so the sculptor could turn the piece as he carved. Small-scale pieces were generally carved at a workbench.
The figure is carved in the round. The sculptor has paid great attention to detail, both on the front and back, where he has continued the fine floral pattern on the robe. He apparently used chisels for finishing the surface of the carving.
The figure is carved in the round. The sculptor has paid great attention to detail, both on the front and back, where he has continued the fine floral pattern on the robe. He apparently used chisels for finishing the surface of the carving.
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Object details
| Categories | |
| Object type | |
| Title | Judith with the Head of Holofernes (generic title) |
| Materials and techniques | Carved marble |
| Brief description | Statuette, Judith holding the head of Holofernes, carved marble, Northern France, ca. 1550 |
| Physical description | Marble statuette depicting Judith holding the head of Holofernes. The figure is carved in the round. The sculptor has plaid great attention to detail, both on the front and the back, where he has continued the fine floral pattern on the robe. He apparently used chisels for finishing the surfaces of the carving. |
| Dimensions |
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| Historical context | The face and proportions of Judith's figure reflect the decorative work at Fontainbleau |
| Subjects depicted | |
| Summary | The techniques used in carving in wood and stone were fundamentally the same. First the sculptor carved the rough shape of the piece, a process known as ‘blocking out’. Then, he would work the surface with knives or chisels and abrasives. The figure was generally held horizontally at a workbench and attached to cylindrical shafts, so the sculptor could turn the piece as he carved. Small-scale pieces were generally carved at a workbench. The figure is carved in the round. The sculptor has paid great attention to detail, both on the front and back, where he has continued the fine floral pattern on the robe. He apparently used chisels for finishing the surface of the carving. |
| Bibliographic reference | Inventory of Art Objects Acquired in the Year 1860. In: Inventory of the Objects in the Art Division of the Museum at South Kensington, Arranged According to the Dates of their Acquisition. Vol I. London: Printed by George E. Eyre and William Spottiswoode for H.M.S.O., 1868, p. 41 |
| Collection | |
| Accession number | 6984-1860 |
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| Record created | September 1, 2004 |
| Record URL |
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