The account of the beheading of Holofernes by Judith is given in the deuterocanonical Book of Judith and is the subject of many different interpretations by various artists and writer. One of the many people that interpreted the story of Judith beheading Holofernes was Artemisia Gentileschi. Judith Slaying Holofernes is a painting by the Italian early Baroque artist Artemisia Gentileschi completed around circuit 1612. The work shows the scene of Judith beheading Holofernes, which is a representation of women triumphing over powerful men. Gentileschi chooses to capture the moment of greatest dramatic impact, in the book of Judith, the time of the decapitation itself. 
    Artemisia Gentileschi born July 8, 1593, was an Italian Baroque painter, today considered to be one of the most accomplished artists of her generation. In an era when women painters were not easily accepted by the artistic community or patrons, she was the first woman to become a member of the Accademia di Arte del Disegno in Florence.
    Gentileschi best-known work is Judith Slaying Holofernes, is a scene of horrific struggle and bloodshed. The painting displays a pool of blood running down the white sheets as Judith, a young widow from the city of Bethulia, beheads Holofernes, the general of the Assyrian Army that besieged her city. Artemisia Gentileschi shows two strong, young women working together with, their sleeves rolled up, their gazes focused, their grips firm. Holofernes looks to be struggling in vein, as Abra the maid, countered the thrust of his arms allowing for Judith to complete the gruesome act. This interpretation of Judith can be heavily related to Artemisia Gentileschi own life experiences. 
    Artemisia Gentileschi was the daughter of celebrated painter Orazio Gentileschi. As a young girl, she served as an apprentice to her father, learning the skills of a professional painter. When her father recognized her exceptional talents, he hired the painter Agostino Tassi to further her painting skills. During these lessons, Tassi raped Gentileschi, who was only 18 at the time. Agostino Tassi initially promised to marry Gentileschi to restore her reputation, but unbeknown to her, he was already married. When Artemisia Gentileschi father Orazio, found out he pursued a legal case against Tassi. The trial took several months. 
    The major issue of the trial focuses on the question of if Artemisia Gentileschi had lost her virginity to Tassi or not.  In the ensuing 7-month trial, Gentileschi was given a gynecological examination by midwives in front of the and was tortured using a device made of thongs wrapped around the fingers and tightened by gradations as a way of proving her honesty. At the end of the trial, the court found Tassi guilty, and he was sentenced to a year in jail and exiled from Rome, but the order was never enforced. The trail received considerable publicity and partly ruined Artemisia Gentileschi reputation as she was as a promiscuous woman.

       The trial influenced the feminist view of Artemisia Gentileschi. During and soon after the trial, Gentileschi painted Judith Slaying Holofernes. The graphic scene, I believe is Artemisia Gentileschi wish for psychological revenge for the violence she had suffered due to her rape and the torture she faced during the trail. The struggle of being a woman is represented by the delicate face of the maid in the painting, which is clutched by the oversized, muscular fist of Holofernes as he desperately struggles to survive. Gentileschi portrayed herself as Judith and Tassi as Holofernes. Artemisia Gentileschi used her experience to provide a unique perspective on Judith, that both celebrated and humanized strong women characters.