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Artysta ch\u0119tnie odwo\u0142ywa\u0142 si\u0119 do ksi\u0105g Starego Testamentu, jego uwag\u0119 przyci\u0105ga\u0142y postacie o bogatej, skomplikowanej osobowo\u015bci, ulegaj\u0105ce ambiwalentnym \u0026#160;uczuciom \u0026#160;i emocjom. G\u0142\u00f3wna bohaterka \u201eKsi\u0119gi Judyty\u201d \u0026#160;to mieszkanka Betulii, m\u0142oda wdowa po Manassesie, pi\u0119kna, bogata i pobo\u017cna \u017byd\u00f3wka. Jej zas\u0142ug\u0105 by\u0142o uratowanie rodzinnego miasta przed niechybn\u0105 kl\u0119sk\u0105 podczas obl\u0119\u017cenia przez wojska asyryjskie. Judyta przekrad\u0142a si\u0119 \u0026#160;do obozu wroga, ubrana w najpi\u0119kniejsze szaty zdo\u0142a\u0142a uwie\u015b\u0107 wodza Asyryjczyk\u00f3w Holofernesa, kt\u00f3ry zatrzyma\u0142 j\u0105 przy sobie. Sp\u0119dzaj\u0105c noce w jego namiocie, po hucznej uczcie \u015bci\u0119\u0142a g\u0142ow\u0119 \u015bpi\u0105cemu kochankowi. Uda\u0142o jej si\u0119 szcz\u0119\u015bliwie powr\u00f3ci\u0107 do Betulii z wojennym trofeum, a czynem swym przechyli\u0142a szal\u0119 zwyci\u0119stwa na stron\u0119 \u017byd\u00f3w.\u003Cbr \/\u003E\r\nOd czas\u00f3w \u015bredniowiecza Judyta by\u0142a wielokrotnie przedstawiana w malarstwie i rze\u017abie. Pocz\u0105tkowo akcentowano przede wszystkim jej po\u015bwi\u0119cenie i odwag\u0119, postrzegano j\u0105 jako symbol tryumfu dobra nad z\u0142em. W p\u00f3\u017aniejszym okresie patriotyczno-religijny idea\u0142 m\u0119\u017cnej niewiasty uleg\u0142 transformacji. W XIX wieku, ze wzgl\u0119du na element gry mi\u0142osnej poprzedzaj\u0105cej zamordowanie Holofernesa, zacz\u0119to j\u0105 uto\u017csamia\u0107 z tragiczn\u0105 femme fatale \u2013 siln\u0105 i bezwzgl\u0119dn\u0105 kobiet\u0105, niszcz\u0105c\u0105 m\u0119\u017cczyzn\u0119, w kt\u00f3rym wcze\u015bniej wzbudzi\u0142a zmys\u0142owe po\u017c\u0105danie. W interpretacji Gottlieba Judyta nie przybiera cech bohaterki tryumfuj\u0105cej nad wrogiem, kt\u00f3remu podst\u0119pnie zada\u0142a brutaln\u0105 \u015bmier\u0107. Pogr\u0105\u017cona w pos\u0119pnej zadumie, ze smutkiem spogl\u0105da na g\u0142ow\u0119 Holofernesa, na kt\u00f3rej czu\u0142ym gestem po\u0142o\u017cy\u0142a r\u0119k\u0119. Erotyczny aspekt jej czynu podkre\u015bla cz\u0119\u015bciowo obna\u017cone cia\u0142o, bogato ozdobione z\u0142ot\u0105 bi\u017cuteri\u0105. G\u0142\u0119boki spirytualizm w przedstawieniu tej postaci kieruje uwag\u0119 widza na wewn\u0119trzny konflikt uczu\u0107 \u2013 wspomnieniu mi\u0142osnych uniesie\u0144 towarzyszy poczucie winy za zdrad\u0119 i \u015bmier\u0107 zadan\u0105 w imi\u0119 patriotycznej powinno\u015bci.\u003Cbr \/\u003E\r\nTajemnicz\u0105 aur\u0119 tej sceny, rozgrywaj\u0105cej si\u0119 we wn\u0119trzu namiotu, podkre\u015bla mrok spowijaj\u0105cy g\u00f3rn\u0105 cz\u0119\u015b\u0107 kompozycji oraz zacieraj\u0105ca detale szkicowo\u015b\u0107 techniki malarskiej.\u003Cbr \/\u003E\r\n\u003Cbr \/\u003E\r\n[Ewa Micke-Broniarek]\u003Cbr \/\u003E\r\n\u003Cbr \/\u003E\r\nBibliografia: Opis jest rozszerzon\u0105 wersj\u0105 tekstu opublikowanego w: \u201eGaleria Sztuki XIX Wieku. 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