DOI issue:
Nr. 1
DOI article:Kobayashi-Sato, Yoriko: Hendrick Ter Brugghen's "King David Harping surrounded by four Angels"
DOI Page / Citation link: https://doi.org/10.11588/diglit.18904#0009
1. H. Ter Brugghen, King Dauid Harping Surrounded by Four Angels, 1629, canvas
150x190 cm, Warsaw, Muzeum Narodowe
scenę. The Psalter from which David plays lies open upon the desk. The masterly depictiotiou
of the texture of the parchment is something that Ter Brugghen excelled in from his earlien,
days. Behind the throne and table, two singing angels have been positioned at e-ther side os
David. The two outer angels are shown as winged half-figures who keep time with one handf
while only the heads of the two inner angels have been depicted. These angels have the innocent
expressions of children, which are in striking contrast with the old head of David. Setting a young
head against an old head is one of the typical compositional features of Ter Brugghcn's works13.
Ali these motifs have been gathered into a shallow picture space. The light illuminates the
scenę from the front left, giving accent to the composition. However, except for the eye-riveting
brightness of the colors of David's robe and the whiteness of the pages of the open Psalter, Ter
Brugghen has relied on a rather dark, muted color scheme.
The history of David, who was considered an ancestor of Christ, had very vital religious
significance throughout the mediaeval Christian world because it was interpreted as prefiguring
the deeds of Christ. In addition, the life of David, who is considered a Psalmist because he often
immersed himself in musie and poetry, was filled with stormy events and had a highly romantic
13. Ibidem, p. 23.
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150x190 cm, Warsaw, Muzeum Narodowe
scenę. The Psalter from which David plays lies open upon the desk. The masterly depictiotiou
of the texture of the parchment is something that Ter Brugghen excelled in from his earlien,
days. Behind the throne and table, two singing angels have been positioned at e-ther side os
David. The two outer angels are shown as winged half-figures who keep time with one handf
while only the heads of the two inner angels have been depicted. These angels have the innocent
expressions of children, which are in striking contrast with the old head of David. Setting a young
head against an old head is one of the typical compositional features of Ter Brugghcn's works13.
Ali these motifs have been gathered into a shallow picture space. The light illuminates the
scenę from the front left, giving accent to the composition. However, except for the eye-riveting
brightness of the colors of David's robe and the whiteness of the pages of the open Psalter, Ter
Brugghen has relied on a rather dark, muted color scheme.
The history of David, who was considered an ancestor of Christ, had very vital religious
significance throughout the mediaeval Christian world because it was interpreted as prefiguring
the deeds of Christ. In addition, the life of David, who is considered a Psalmist because he often
immersed himself in musie and poetry, was filled with stormy events and had a highly romantic
13. Ibidem, p. 23.
3