...returning to the theme of thresholds, some short essays by one of my exam groups examined the thresholds of pain and vulnerability that are the subject matter of Rembrandt's painting 'The Blinding of Samson' 1636. They did so by first examining the way in which Rembrandt used light and shadow to construct pictorial space. This is an exercise relevant to the AQA AS level 'Visual Analysis' paper.
I am frequently reminded by my students why I enjoy teaching Art History. I was impressed by their willingness to explore the relationship between form and subject matter, and to not give-up on a painting which at first appears 'confused both in light and composition' (C Wright 'The Dutch Painters').
'The dramatic light highlighting the blinding of Samson seems to be a natural source, entering from outside the chamber. The contrast between tenebrism on the right and light on the left may represent evil and good. The Philistine holding the spear is silhouetted against the gaping sky creating pictorial space. The light reflecting on the armour of the soldiers allows the viewer to retain their bearings as the eye casts about the dark canvas looking form forms to read. This could mimic the struggle and dramatically dwindling and punctured sense of sight that Samson experiences. Samson's blindness is foreshadowed by the dark void inside the chamber. Chiaroscuro is used on the soldiers' forms to indicate a sense of volume in space. The bodies are depicted as confined and drawn with diagonal forces, all of which is picked out in light and shadow. Their overlapping shapes reflect the conflict of forces within the space. Samson seems to glow in the painting and Delilah's clothes have a transparent, ethereal quality. The light frames her trophy: Samson's hair and strength'. (composite answer from different students).
There are many technical terms here for AS students to look-up and learn. Many of these also relate to the concept baroque, which is a term often used to summarise characteritics of 17th century art and architecture.
V
1 comments:
This is a difficult painting to write about. I've always been struck by the mundane physicality of the violence represented here. It looks like a brawl in a pub, quite unlike many of the other versions of the same story which tend to concentrate on the moment of Samson's sexual betrayal. The cave provides the perfect setting for a dark and grubby act. This writing here demonstrates an authoritative grasp of some key art historical analytical tools. Language is used to illuminate the compositional organisation of the image. I like the way the author(s) have suggested symbolic readings of formal elements, rather than making wild claims for meaning. Throughout, there is a concentration on how the image affects the viewer capable of patient and tenacious analysis. A pleasure to read.
Post a Comment