Die Augen des Sünders: Überlegungen zu Rembrandts "Blendung Simsons" von 1636 in Frankfurt

• Autores: Volker Manuth
• Localización: Artibus et historiae: an art anthology, ISSN 0391-9064, Nº. 21, 1990, págs. 169-198
• Idioma: alemán
• Texto completo no disponible (Saber más ...)
• Resumen

  • One of Rembrandt's most fascinating early works is the large painting, dated 1636, called The Blinding of Samson, in the Städelsches Kunstinstitut in Frankfurt. Until now, in dealing with this work art historical research has, for the most part, been limited to the plausible, though by no means definite, hypothesis that Rembrandt gave the painting as a present to Constantijn Huygens, secretary to the Stadholder, Prince Frederick Henry of Orange, to thank him for acting as intermediary between the artist and the court.

    The focus of the present study, however, is on the iconography of the picture, since Rembrandt broke significantly with post-medieval tradition in his representation of the subject. Thus, for example, in contrast to Rubens and his followers, Rembrandt not only shows the hero's capture but also - very graphically - the cruel act of his eyes being put out by the Philistines. Rembrandt used as a model for the prone Samson the figure in a copper engraving of 1566 by Cornelis Cort, afterTitian's painting Tityus, now in the Prado.

    In keeping with the biblical exegesis of contemporary reformist theologians, Rembrandt, who was apparently familiar with the popular preaching on this theme, stresses the moment of destruction of Samson's eyesight, which was seen as God's punishment for the whoring about with the pagan Delilah; it was his eyes that were struck because through them he had let himself be led into sin by looking upon Delilah, thus delivering himself into her hands.