Rembrandt Van Rijn's Paintings - Term Paper Example

? The Number 14 March “The Blinding of Samson” and “The Avenge of Samson” by Rembrandt van Rijn This yearmarks the the 406th anniversary of the birth of Rembrandt van Rijn, the Dutch painter and etcher. Shilvers in The Oxford Dictionary of Art calls Rembrandt “his country’s greatest artist” (Shilvers, “Rembrandt”). Similarly, the recent edition of “Columbia Encyclopedia” speaks of Rembrandt as of the greatest master among the representatives of the Dutch school (Columbia Encyclopedia, “Rembrandt Harmenszoon van Rijn”). Indeed, scholars unanimously agree that “in range, originality, and expressive power, his large production of paintings, drawings, and etchings has never been surpassed.” (UXL Encyclopedia of World Biography, “Rembrandt”). While there have been identified more than 400 original works by Rembrandt that have lived through centuries, no one doubts that in the past there existed many more which, unfortunately, have either been lost or destroyed. Today one may savor the beauty and emotional depth of a variety of portraits created by Rembrandt back in the 17th century. However, what is even more appealing for a modern viewer is Rembrandt’s paintings devoted to the Biblical themes and based on the events either from the Old or New Testament. It is hard to say why exactly, but the Biblical story of the Hebrew hero Samson, who was known to possess inordinate strength and was kind of God’s champion, was particularly interesting to Rembrandt. The art scholars attribute 5 original works by Rembrandt devoted to Samson’s life events. The Blinding of Samson (1636) is probably the most famous of them. Interestingly, it has been found that one more painting that explored the Samson motif was created by Rembrandt almost immediately after The Blinding of Samson. The Avenge by Samson (1638) was completed two years later and was kept in a private collection of Rembrandt’s powerful patron Prince Frederick Hendrick of Orange during his lifetime. Allegedly, it was destroyed during the fire of 1712 or was stolen at the moment of panic in the burning house where it was kept. This paper seeks to explore the meaning, historical context and the form of The Blinding of Samson and, based on this research, hypothesize what the details of The Avenge of Samson might have been. It also focuses on the place these artworks had/might have had in the career of their author – Rembrandt van Rijn. The Blinding of Samson: Form, Meaning and Historical Context The Blinding of Samson was created back in 1636. At that time, artists typically used natural materials that they made themselves, most often oil. The Blinding of Samson is not an exception to that rule. It is written in oil on canvas and it is quite large (235x302 cm). While the painting is an example of the Baroque art and represents the Biblical episode, it is quite naturalistic. It can be attributed to the author’s careful use of form. In particular, this artwork exemplifies “the dark manner” which was introduced by Rembrandt’s predecessor Caravaggio. In this painting, Rembrandt used luxuriant brushwork which combined with rich color and masterful use of chiaroscuro (the technique of treatment of both light and shade). Specifically, his brushstrokes are, as usual, broad and thick. Also, it is these layers of glaze that evidently provide scenes with extra depth and also gravity. Critics claim that these technique helped Rembrandt depict the mood as well as inner mental feeling of the figures since it accentuated their physical features along with expressions on their faces (Encyclopedia of Art, visual-arts-cork.com). In relation to this, Armold Houbraken, a painter and a contemporary of Rembrandt who was familiar with the way the great Dutchman worked described that very often his artworks “looked as though the paint has been smeared on with a bricklayer’s towel” (van de Wetering 5). Yet, it is this working method that allows his paintings to create an extremely light and easy perception on the viewer’s side. Just as Rembrandt was constantly returning to the same place on his painting after having rethought certain details, he was able to create masterpieces that strike with the depth of meaning and emotion (van de Wetering 5). Importantly, Rembrandt himself recommended hanging his works “in a strong light and where one can stand at a distance” (van de Wetering 251) In The Blinding of Samson, Rembrandt is believed to have achieved the power of meaning and emotion through the use of chiaroscuro, as well as effective combination of colors and tones. To illustrate, the painting depicts the brutal capture of Samson. Samson, deceived by his beloved woman Delilah, is seized by his enemies the Philistines. He has been pinned to the floor. One of the soldiers is gouging out Samson’s eyes shown as gushing with blood. Samson’s leg is directed to the doorway where it kind of point at the traitress who is shown holding the hero’s locks and also shears. Here it is evident that chiaroscuro focuses not just on Samson being captured, but also on the only escape hatch that he is not able to use. Also, chiaroscuro was used to paint the warriors’ forms to create a sense of volume in the given space. All bodies are painted as confined and sort of drawn with some kind of diagonal forces, which was achieved through the interplay of light and shadow. As for the combination of tones, Rembrandt did not refer to full meging of light and dark, but made subtle transitions instead. In The Blinding of Samson, one may find subtle and hardly noticeable shifts from pinkish and yellowish tones to light greys and blues. Gylenhaal in her research into Rembrandt’s use of statues identifies the possibility of sculptural sources in depiction of Samson. In particular, Gylenhall thinks that the painter could achieve the striking realistic effect of his masterpiece through relying on sculpture while painting Samson. These could have been the sculpture of Laokoon as “a prototype of for Rembrandt’s tormented figure of Samson”, and Tetrode’s “Hercules Pomarius” a prototype for the same (Gylenhaal 109). The direct meaning of The Blinding of Samson can be found in the background story that was taken from the Old Testament. It is fully described in Judges 16:19-21. Out of 300 artworks that had been inspired by the Biblical content, The Blinding of Samson is one of the most striking due to its dramatic depiction of Samson’s suffering as his eyes are being gouged. Reading the painting, one can see how the sense of conflict and struggle is achieved through placing the figures in a cramped space. It seems that the dark void found inside the chamber is a sign of the blindness of the Hebrew hero and judge, it has a foreshadowing effect. The light reflecting on the helmets of the Philistine soldiers helps to retain the enemies’ bearings just as the viewer’s eye casts about the gloomy and dark canvas. This could symbolize the punctured sight of Samson which is dramatically dwindling. The meanings of predestination and God’s ruling will can be also found while interpreting the painting. Bearing in mind that Rembrandt was a Calvinist, it was a part of his religious outlook to believe in the ruling power of God – the way It is depicted in the Old Testament. Here God is shown as a true leader of Hebrews, Who had the power to give strength and might to those obeying His rules and take away His favor from those who disregarded them (“Rembrandt: The Blinding of Samson”). In addition, the painter might have wanted to depict the power of predestination apart from the traditionally shown treacherous behavior of Delilah. The historical circumstances the artwork was created were quite favorable for Rembrandt (he had married the woman he loved two years before and was emotionally and financially secure), but rather turbulent in political sense. At that time, the Netherlands were fighting for its independence in a so-called “Eighty Years’ War ” (1568-1648) (also known as Revolt, or Dutch War for Independence). The war was led against the sovereignty of the Habsburgs over the 17 Dutch provinces (Maanen 68). It was a lengthy conflict with the Calvinist state having both victories and defeats and suffering from economic sanctions as well. At the time when Rembrandt was painting his Samson masterpiece, the war was still being led. Hence, affected by the idea of his motherland suffering from the foreign rule in its inability to gain freedom, Rembrandt might have depicted his native country in the character of Samson. “The Avenge of Samson” (1638) “The Avenge of Samson” hypothetically depicts the hero in deep focus as he is shaking the pillars of the house with all his power in order to ruin the building and bury 3,000 Philistines and himself by doing this. Samson is shown with sweat on his face and his facial expression is that of the enormous challenge since only the superhuman power could have destroyed the ancient building made of stone. At the same time, Samson’s face does not bear a mark of suffering only, instead just as he realizes he will soon die, he relies on God solely, which is suggested by the lifted position of his face. The doom of the Philistines inside the house is shown with the darkness that fills the premises. On the contrary, Samson’s figure is depicted in light. This is because Rembrandt might have wanted to show that his hero is on the right path and is a real hero. Besides, this use of light suggests that God forgave his chosen man and had thrust his Spirit onto him. Undoubtedly, this painting was a logical continuation of the Samson theme in a series of artworks based on the stories of the Old Testament. Especially, this seems especially true when one thinks about the love of Rembrandt to depicting events at the peak of their dramatic action. This one, too, seems to be quite dramatic, just like the one that shows the blinding of the Hebrew judge and hero. In terms of symbolic meaning, the artist might have wanted to depict his motherland similarly to The Blinding of Samson. Just in this painting Samson’s liberating death might resemble the freedom the Netherlands would hopefully get (this happened only in 1648). Conclusion In conclusion, “The Blinding of Samson” effectively appeals to the inner feelings of the modern audience, just as it did four centuries ago. Thanks to its dramatic realism and Biblical background, this work is precious both in artistic and moral sense. It evoked disgust for treachery and sympathy to Samson who has been mercilessly deprived of the possibility to defend or escape. At the same time, it teaches that the moral code should better be not violated or a person may suffer in the cruelest way. At the same time, “The Avenge of Samson” depicts how Samson restored the God’s favor and mercy, and his physical strength (since his hair had grown), but decides to bury himself alive to save his people, the Hebrews. Works Cited 1. "Rembrandt Harmenszoon van Rijn." The Columbia Encyclopedia, 6th ed.. 2011. Encyclopedia.com. 14 Mar. 2012 . 2. "Rembrandt." UXL Encyclopedia of World Biography. 2003. Encyclopedia.com. 14 Mar. 2012 . 3. “Rembrandt: The Blinding of Samson”.N. d. Web. 14 March 2012. http://www.all-art.org/baroque/rembrandt4.html. 4. Chilvers, I. “Rembrandt”. The Oxford Dictionary of Art. 2004. Web. 14 March 2012. http://www.encyclopedia.com/topic/Rembrandt.aspx#1 5. Gyllenhaal, M. Rembrandt's artful use of statues and casts: New insights into his studio practices and working methods. ProQuest. 2008. Print. 6. Israel, Jonathan. The Dutch Republic: Its Rise, Greatness, and Fall 1477–1806, Clarendon Press, Oxford, 1995. Print. 7. Maanen, H. van. Encyclopedie van misvattingen. Bloom, 2008. Print. 8. N.a.“Rembrandt and the Bible”. Art and the Bible. 2010.Web. 14 March 2012. < http://www.artbible.info/art/rembrandt-biblical-work.html> 9. Wetering, E. van de. Rembrandt: the Painter at Work. Amsterdam University Press, 1997. Print. Read More