[1] The explicit nature of the artist's interpretation has led writers to believe that there is a deeper meaning behind Artemisia's Judith, drawing back to the rape trial against Agostino Tassi.

[7] It has been considered that the gender-based limitations of her Roman hometown, along with the absence of a mother for the majority of her life, assisted in Gentileschi's interest and focus on powerful female figures.

[8] Speculation from Elizabeth Cropper asserts that Gentileschi painted the feminine figures in a more heroic lighting, attributing characteristics of tragedy and sadness to these women, while also justifying their actions from an ethical standpoint.

[3] Vivid tones of color, ranging from Judith's golden dress to the deep crimson curtain, contribute to an elemental component that is unique to Gentileschi's style, unlike Caravaggio.

[9] The shadow cast on Judith's face resembles a crescent moon which is a symbol of Artemis, a reoccurring connection the artist made between the female figures.

[9] The style of this composition is compared to Adam Elsheimer's Judith Slaying Holofernes, with the tenebristic lighting from the single candle and the drapery at the top corner of the canvas.

[5] The dramatically shadowed crossing of Judith's arms connects to the manner and style of Simon Vouet's Temptation of St. Francis, along with the theme of sexual power.

[5] Steering away from an all-encompassing approach to story-telling, Renaissance art marked the beginning of focusing entirely on the suspenseful moments of Judith's tale, particularly when Holofernes is beheaded.

Donatello is most well-known for this application, but the tradition is connected to other artists, like Sandro Botticelli, Michelangelo, Andrea Mantegna, Giorgio Vasari, Caravaggio, and Artemisia Gentileschi.

[10] It is speculated by art historian Mary Garrard that Judith served as a righteous symbol from which people in the sixteenth and seventeenth centuries looked to in religious and political situations.

[1] Art historians Keith Christiansen and Judith Walker argue that the gauntlet in her hand aims to emphasize the symbolic act of a military champion's defeat and loss of power.

[9] From the analysis of Diane Apostolos-Cappadona, the interpretation of Judith under Artemisia serves as an indicator of the female hero no longer painted in the righteous light of God.

[5] Garrard infers that men feared Gentileschi's series of Judith beheading Holofernes because it brought to life the notion of a woman taking control and ruling over a man.

The author analyzes that Artemisia may have also integrated some characteristics of herself into Judith's maidservant, Abra, whose supportive appearance diverges from the unfaithfulness of Gentileschi's former friend, Tuzia.

Through this, Gentileschi painted a more complex description of the biblical heroine and her loyal companion, in order to, in Garrard's mind, break them free from confining stereotypes.