For at least 20 years, Nicholas Poussin Death of Germanicus (1627), a prized painting in the collection of the Minneapolis Art Institute (Mia), has been on the “do not lend” list. But when the Palazzo Barberini in Rome asked to borrow it for an exhibit celebrating the legacy of Pope Urban VIII on the 400th anniversary of his election, the Minneapolis museum relented. It was an important spectacle, and Poussin had been commissioned by a nephew of Urban VIII, born Maffeo Barberini. The painting remained in the family until 1958.
In return, the Minneapolis Museum also received a gem. The Barberini loan Caravaggio Judith and Holofernes (1599) – an equally important painting that depicts the biblical heroine Judith, who beheaded the Assyrian general Holofernes and saved the Hebrews from subjugation. Considered a breakthrough, Caravaggio will be featured on April 20 at the heart of an exhibition featuring 14 additional paintings, sculptures, drawings and prints, dating from around 1480 to 1999, on the account of Judith, many of which reflect the influence of the Caravaggio.
Ignatius Collino, Judith with the head of Holofernes1750 Courtesy of Minneapolis Institute of Art
Rachel McGarry, European Art Chair at the Minneapolis Museum and curator of Judith and Holofernes by Caravaggio (April 20-August 20), called the painting “radically groundbreaking” and an obvious springboard for a show.
The theme of Judith dates back to the Middle Ages, according to Steven Ostrow, professor of art history at the University of Minnesota. Caravaggio’s image, however, is distinct, he says. Unlike most previous versions, Caravaggio depicts Judith decapitating Holofernes, the blade slicing through her neck and blood gushing from the wound, neither before nor after the decapitation. “It’s a painting of high drama and violence, a huge leap from his early images, which were more static,” says Ostrow. In it, Caravaggio both captured Judith’s psychological state and sexualized her. The painting, which was Caravaggio’s first true history painting, increased the popularity of the Judith theme among artists.
Lovis Corinth, Judith decapitates Holofernes1910 Courtesy of Minneapolis Institute of Art
Relying solely on Mia’s permanent collection, McGarry chose a color lithograph (1910) by Lovis Corinth (1858-1925) which shows Judith raising her sword; a terracotta sculpture (1750) by Ignazio Collino (1706-1787) representing Judith holding the head of Holofernes at her side; and a painting by Giovan Gioseffo dal Sole (1654-1719) (c. 1695) of a determined Judith, among others.
The most recent work in the Minneapolis exhibit, by Tina Blondell, I’ll shorten you by a head (1999), shows a frontal, topless, sexy Judith holding the head of Holofernes. “The title suggests her viewing through a feminine lens, giving the woman agency,” McGarry says.
Tina Blondel, I will shorten you by a head (Judith I)1999 Courtesy of the Minneapolis Institute of Art. © 1999 Tina Blondel
The collaboration between Mia and the Barberini could extend beyond these loans. Members of the Barberini family were notable patrons and the Mia has six paintings, a sculpture and a tapestry that belonged to the Barberini. “I hope this is the first of many exchanges with Palazzo Barberini,” says McGarry. She adds that Katie Luber, the director of Mia, discusses future projects with Flaminia Gennari Santori, director of the Gallerie Nazionali Barberini Corsini and co-curator of The sovereign image. Urbano VIII and the Barberini familywhich will remain visible in Rome until July 30.
- Judith and Holofernes by CaravaggioApril 20-August 20, Minneapolis Institute of Arts
