Judith and Holofernes

Title: 

Judith and Holofernes (The Sacrifice of the Artist)


Creator: 

Marek Valovič (b. 1974)

Nationality: 

Slovak

Date Created: 

2022

Medium: 

Oil on Cotton Canvas


Physical Dimensions: 

27.6 x 19.7 in. | 70 x 50 cm (H x W)

Technique: 

Tenebrism | Direct Glazing

Materials: 

Executed on a fine-textured cotton canvas, factory-primed with acrylic gesso. This work serves as a high-emotion study in intense Tenebrism, utilizing a hybrid layered approach. The process begins with a fusion underpainting

(tempera grassa and oil)

, where pigments are integrated directly into the support using mechanical pressure to establish the tonal skeleton. This is followed by a Mosaic Impasto phase—a divided application of opaque, high-build paint to sculpt the highlights with physical mass. Once cured, the composition is refined through selective superposition of glazes, where the shadows remain translucent, allowing the ground to breathe through the layers. This contrast between the dense, heightened lights and the transparent, receding depths creates a raw, spontaneous energy and painterly bravura. To ensure archival longevity, the surface is protected by a professional dual-layer varnish system (Laropal A81 and Regalrez 1094) enhanced with Tinuvin® UV stabilizers, providing structural and aesthetic stability for generations to come.

Provenance: 

Artist's Studio | Slovakia.

Availability:

Available for private acquisition | Price upon request

Rights: 

© Marek Valovič. All rights reserved.

Judith and Holofernes | Marek Valovič . 70 x 50 cm | Oil on Cotton Canvas | 2022 . Tenebrist self-portrait as Holofernes, 20th-century officer's saber, dramatic top lighting, bloody blade.
Ariadne's Thread | Marek Valovič . 110 x 80 cm | Oil & RSG Emulsion | 2024 . Contemporary portrait of Ariadne, red thread, labyrinth background, sword of Theseus, sun-thickened oil glazes.
The Threshold of Tartarus | Marek Valovič . 200 x 160 cm | Oil on Canvas | 2025 . Monumental composition with 11 figures, Hades' owl of prophecy, Cerberus on royal purple, SiO2 texture mediums.
The Fall of Achilles | Marek Valovič . 150 x 110 cm | Oil on Linen | 2024 . Baroque tenebrism, lead litharge. Hand-primed linen, traditional gesso, flemish black oil with lead litharge, sun-thickened linseed oil, handmade pigments, Bratislava artist
Mary Magdalene | Marek Valovič . 98 x 69 cm | Oil on Oval Plywood | 2025 . Nude Magdalene holding her own halo, golden drapery, moonlight silhouette of St. Peter's Basilica, pure oil glazing technique, vintage gold frame.
Supper at Emmaus | Marek Valovič . 200 x 160 cm | Oil on Linen | 2023 . Family portrait with wife and daughters, Caravaggio-inspired composition, still life with bread and fruit, side window lighting, multi-layered oil glazing.

The Artist's Perspective | Technical & Symbolic Context



Every brushstroke is an admission of human frailty. To see the art, you must first accept your own imperfections, for we are measured by the same light. This piece was born from a moment of raw, creative urgency—an artistic 'fury' that demanded to be captured on whatever support was at hand. Using a common cotton canvas, I focused on the immediate emotional impact rather than the lengthy preparation of traditional grounds. Technically, the challenge was to sculpt the flesh and the cold steel of the 20th-century officer's saber using only top-down lighting, a classic tenebrist approach.
In a radical departure from tradition, I used my own likeness for the severed head of Holofernes. It is a symbolic beheading of the artist's own ego at the hands of his muse. The blood on the blade, leaning against the nude figure of Judith, bridges the gap between the biblical myth and the brutal reality of modern history. This is art in its most visceral form—an experiment in both material and soul.


Symbols: 

The Severed Head (The Artist’s Ego), The 20th-Century Officer’s Saber (Modern Conflict), The Naked Truth (Vulnerability of Power).

Every masterpiece requires the artist to lose his head, for you cannot truly paint the truth until you have first survived your own execution. The sharpest blade in any studio is not made of steel, but of the courage to be brutally honest with one's own reflection.
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