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Dutch portrait painter sir peter11/13/2023 ![]() A dendrochronological examination of the painting, however, confirms that the painting dates to the correct period, and the attribution has been accepted by a majority of the art historical scholarly community. She argues that it varies in details from copies of the original made during Rubens' lifetime, that it does not employ the layering technique of glazing common in oil painting at the time and mastered by Rubens, and that its provenance can not be documented with certainty between 16. There has been some doubt cast over the attribution of the painting to Rubens, led by the artist and scholar of Fayum portraits Euphronsyne Doxiades. The painting was earlier attributed to the Dutch painter Gerard van Honthorst, a painter who, like Rubens, worked in Rome in the shadow of Caravaggio at the start of the 17th century. Eventually, the painting sold at auction in 1980 at Christie's, purchased by the National Gallery, London for $5 million. The painting was then sold in 1880 in Paris, where it was later found by Ludwig Burchard in 1929. However, when the painting was part of the Liechtenstein Collection in Vienna, Austria in the eighteenth century, the painter was identified as Jan van den Hoecke, who was a principal assistant of Rubens in the 1630s. This painting was likely Rubens' painting. In 1700, a panel named Samson and Delilah was bought by Prince Johann Adams Andreas I. The painting was publicly sold for charity when Rockox died in 1640, but it is unknown who the painting was sold to. The painting was specifically intended to be placed above a 7-foot mantelshelf, where the painting would have been seen from below. In addition to being a patron, Rockox was a close personal friend of Rubens. The painting was originally commissioned by Nicolaas II Rockox, Lord mayor of Antwerp, Belgium, for his Rockox House. She is believed to be a procuress, and the adjacent profiles of her and Delilah may symbolise the old woman's past, and Delilah's future. The old woman standing behind Delilah, providing further light for the scene, does not appear in the biblical narrative of Samson and Delilah. Without his strength, Samson is captured by the Philistines. Having fallen in love with Delilah, who has been bribed by the Philistines, Samson tells her the secret of his great strength: his uncut hair. Samson was a Hebrew hero known for fighting the Philistines. The painting depicts an episode from the Old Testament story of Samson and Delilah ( Judges 16). This statue can be taken to represent the cause of Samson's fate and the tool of Delilah's actions. Notably, Cupid's mouth is bound, rather than his eyes. The niche behind Delilah contains a statue of the Venus, the Goddess of love, and her son, Cupid. Philistine soldiers can be seen in the right-hand background of the painting. The man snipping Samson's hair is crossing his hands, which is a sign of betrayal. Her left hand is on top of Samson's right shoulder, as his left arm is draped over her legs. Delilah is depicted with all of her clothes, but with her breasts exposed. Samson and Delilah are in a dark room, which is lit mostly by a candle held by an old woman to Delilah's left. ![]() Rubens portrays the moment when, Samson having fallen asleep on Delilah's lap, a young man cuts Samson's hair. The oil sketch is currently on display in the Cincinnati Art Museum, while the ink sketch is held by a private collection in Amsterdam. ![]() Two preliminary copies of the painting exist today: an ink and wash drawing on paper, and an oil sketch on wood panel. ![]() Samson and Delilah is a painting long attributed to the Flemish Baroque painter Peter Paul Rubens (1577–1640) and displayed in the National Gallery.
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