Abstract

The aim of this thesis is to analyze and support the sociohistorical notion of the biblical icon Judith as a deliverer of justice. Her biblical origin details her triumphs as a warrior for God against the lustful Holofernes, whom she slays to free her fellow Israelites from their Assyrian enemy. Representations of Judith from the Medieval, Renaissance, and Baroque periods often portray her as pious, in a manner similar to the Virgin Mary, whereas Modern and Contemporary depictions show her as strong, without proximity to Holofernes. Therefore, a reconsideration of the Madonna-Whore Complex will be implemented in the visual analysis of the works of Donatello, Caravaggio, Artemisia Gentileschi, Gustav Klimt, and Kehinde Wiley. Although Freud’s work can be considered dated and sexist, this specific idea is relevant to the featured representations of Judith as they either conform to modestia, a Catholic set of moral rules, or push against it. This limited categorization of women can often be seen in depictions of Judith as either a pious servant of God or as a sexualized temptress. Even though this binary of Judith is outdated, it can be applied to Medieval and Renaissance images. In contrast, Modern and Contemporary works show Judith breaking these barriers. The Madonna-Whore Complex can be applied to Medieval Christian art with Judith as a servant of God; Renaissance images of Judith as a pious warrior against tyranny; Baroque representations of Judith as both virgin and strumpet; Modern depictions of Judith maintaining the strength of a warrior for God in the wake of Nazism; and the Contemporary image of Judith as a deliverer of justice against racial inequality in art history and American history, politics, economic structures, and social spheres.

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