'Samson and Delilah': as seen by Rubens and Van Dyck (National Gallery online event)

 On Friday 5^th of February 2021, the National Gallery held an online event on Samson and Delilah’s biblical story, as painted by Rubens and Van Dyck, two famous baroque painters. Dr Carlo Corsato, an educator for the National Gallery as well as lecturer in Morley College, presented the late afternoon event. As a specialist in early modern European art and Architecture, he particularly enjoys the Renaissance and Italian art.

Dr Corsato gave a bit of context on the biblical story, before showing Rubens' version of Samson and Delilah. He pointed out how most people, when visiting an art Gallery such as the National Gallery, often missed the clues in the paintings, not knowing ‘where’ and ‘what’ to look for. In this specific artwork, the darker and more intimate setting revealed a marvel of hints at the biblical story but told viewers even more about society in Rubens’ time. Men on the right stand in the dark (all but Samson, asleep) while the women are set on the left and in the light. Is it to show they cannot be trusted, to witness their 'sin' and betrayal better? Delilah’s face shows confidence and very little regret at what task she has been set upon. Samson is asleep on her lap, trusting and almost at peace in his state of undress, completely oblivious to what his lover has done. The gaze of the fearful soldiers, as well as the servant with his scissors in hand, reminds viewers of Samson’s strength, further displayed by his naked upper body. 

Looking at Van Dyck’s painting, it was pointed out that he’d created different versions of the story. One was similar to that of Rubens' version but during this event, Dr Corsato showed the artwork where Van Dyck took a different approach to the biblical tale. In this version, the palette is more colourful and moving. Samson is wide awake and taken away from Delilah’s arms, capturing the story only minutes after Rubens’. Yet, the expression on Delilah’s face is one of remorse and pain, as she knows what fate the soldiers may have gone through if she had stopped her own actions. Maybe it also shows that she cared for Samson and worries about his fate now. The details keep the viewers enraptured, willing to put the clues together. Why is the small dog even there, in the left corner down? It’s a symbol of loyalty, turned away from the viewer and looking towards Delilah, so is it loyal to her or to Samson? Why is it placed next to the scissors? 

Before sharing Reubens and Van Dyck’s masterpieces, Dr Corsato started with a quiz on Samson and Delilah’s story, to gauge his viewers knowledge but also as a way to tell the Biblical story.

An epic story from the Bible, Samson was a Nazirite who rescued ‘his’ people and killed many Philistines. It was said that Samson was as strong as a Lion, a strength he acquired from God. He fell for Delilah, a Philistine. The rulers of Philistine visited Delilah when they noticed Samson’s feelings, and offered money if she helped them. As Samson was deemed ‘invincible’, she was supposed to find his weakness and report back. Samson and Delilah married, and after Delilah asked Samson repeatedly to share his secret, he finally agreed. His hair stayed long because that’s where he drew his power from, and if anyone cut it, he would lose his colossal strength. Delilah had her answer – she told the guards and waited until Samson fell asleep to cut a lock of his hair. The guards took him away after bearing witness that his Godly gift was no more.

Like in many fables and fairy tales - across Europe if not the world - the morale is clear. A man should never trust a woman, for she will spill secrets and betray a man’s trust as soon as the opportunity presents itself. It is there in the holy book, with its stories to offer guidance and shine the divine light.

A Flemish artist of the 16^th century, Rubens moved back to Flanders as his mother was dying. Travelling during a fragile truce in the 80 years’ war, he stayed and found a wealthy and cultivated patron, the Archduke Albert and his wife Isabella. Van Dyck was believed to have studied under Rubens' but managed to make a mark all on his own. During that time period, Flanders was mostly Protestant, its migrants fleeing prosecution from Spain and Catholics.

Dr Corsato mentioned something eye-opening during his talk: ‘when we visit museums, we forget that paintings displayed there were meant to be viewed somewhere else before.' It is also really fascinating to see two painters of the same time and society, express the same story and showing their own interpretation and thoughts through their craft. Could it be that Van Dyck felt more empathy towards Delilah and her actions, instead of depicting her as the ‘villain’ in this story, as it might be seen in Rubens’ painting and in that society and time?

 

To see Rubens' painting, click here.

Samson and Delilah, Van Dyck.