Samson and Delilah

Oil on canvas

122 x 148 cm.
Framed 135 x 160 cm.

The subject of this fine work is recounted in the Bible, specifically in the Book of Judges (16:4–20): it depicts the episode of Samson and Delilah, an iconographic theme much favoured during the Baroque period, as it reflected the contemporary taste for the depiction of strong, conflicting and often fatal passions.

The story tells of Samson, one of the judges of the Old Testament, an Israelite hero endowed with prodigious strength granted to him directly by God; he is known for his struggle against the Philistines to liberate the people of Israel but, despite himself, also for his susceptibility to feminine charms.

Fatal for him, in fact, will be the beautiful Delilah, a Philistine girl who makes him fall in love with her and to whom he reveals that the source of his strength lies in his hair, never cut since birth, unwittingly revealing his only weakness to her.

In the painting, we see the climactic moment of the tale, with the hero of superhuman strength lying asleep and vulnerable on Delilah’s lap; the woman, having seduced him, is about to deprive him of his divine power with a calm and precise gesture, cutting off a lock of his hair. Hidden behind a column, two Philistine soldiers, aided by the woman’s complicity, await the moment to capture him.

Extremely widespread in the history of painting, not least for its sensual and symbolic power, the narrative represents the temptation that blinds the intellect, and is therefore often used for moralistic purposes, emphasising how passion can dominate reason and strength.

The scene, as in many Baroque depictions of this theme, is set in a highly evocative nocturnal interior in which elements such as musical instruments are often included; in this case, a musical score, to symbolise the ‘seduction of the senses’ that led to the hero’s downfall.

In our view, this is a significant work by Antonio Molinari (Venice, 1655–1704), one of the most authoritative figures in Venetian painting at the turn of the 17th and 18th centuries, who has here displayed his excellent painterly skill.

It is, in fact, a refined example of the artist’s talent for interior paintings, where, through a grandiose composition with a moral intent, he stages an episode in which the figures stand out for their sumptuous, theatrical poses, enhanced by the richness of detail and characterised by vibrant colours, sweeping forms and a soft, sensual brushstroke.

A key figure in the Venetian art scene between the 17th and 18th centuries, he stands precisely as an artist of transition between Baroque tenebrism, inherited from his master Antonio Zanchi, and the early luminous forms of the Rococo.

By way of comparison, we may mention:

- ‘Berenice and Ptolemy III Euergetes’, sold at Sotheby’s, New York (9 January 1980, lot 199) - fig. 1

- ‘Nero and Agrippina’, from the Staatliche Gemäldegalerie in Kassel, Germany - fig. 2

- ‘Sofonisba’, Van Ham Fine Art Auctions, 19 November 2020, Lot 1122 - fig. 3

- ‘Queen Ipsicrate, wife of Mithridates’ (private collection) - fig. 4

- ‘Porcia and Marcus Brutus’ (private collection) - fig. 5

- ‘The Continence of Scipio’ (private collection) - image 6

ADDITIONAL INFORMATION:

The work is sold complete with an attractive gilded wooden frame and is accompanied by a certificate of authenticity and a descriptive iconographic sheet.

We arrange and organise the transport of purchased works, both within Italy and abroad, using professional and insured carriers.

It is also possible to view the painting at our gallery in Riva del Garda; we would be delighted to welcome you to show you our collection of works.

Please feel free to contact us for any further information.

Follow us on: