DOI Heft:
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DOI Artikel:Kobayashi-Sato, Yoriko: Hendrick Ter Brugghen's "King David Harping surrounded by four Angels"
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.18904#0012
4. H. Ter Brugghen, David Saluted by Women, 1623, canvas, 79,4x102 cm, Raleigh, North
Carolina Museum of Art
quality. Consquently, the episodcs involving David in the Book of Samuel have very often
been used as theme in visual art, and their iconography has shown much variety14.
Among these episodcs, the battle of the young shepherd David and the Philistine Goliath
and the discord between David and Saul have often been the subjects of sculpture and painting
from the fourteenth century on in Italy and later in the Netherlands. In particular, the story
of the battle with Goliath was, along with those of Lot and his daughters and the sacrifice of
Isaac, one of the favorite Old Testament subjects of the Caravaggisti15. Caravaggio himself
painted two known versions of David with the Head of Goliath (ca. 1609—10, Galleria Borghese,
Rome; ca. 1605—06, Kunsthistorisches Museum, Vienna). As for Ter Brugghen, his depiction
of this subject (1623, North Carolina Museum of Art, Releigh, Fig. 4) shows David with the
head of Goliath, returning to Israel with Saul16. They are being greeted by women „singing
14. Many examples are cited under, ,David" in Lc\icon der Chrisllichen Iconographie, Freiburg i. Br., 1968—72,1. col. 477—490.
15. B. Nicolson, Inlernatilnal Caravaggesque Mouemenl, Oxford, 1979, p. 209—220.
16. In my oppinion the attribution of this painting to Ter Brugghen — see B. Nicolson, Hendrick Terbrugghen, op. cii., A 50 —
is worth reconsidering because of the poor modelling and clumsj placement of the fingers, even when its ^\retched state
is taken into consideration. The composition and the type of figures nevertheless are reminiscent all the same of Ter Brug-
ghen, so that it is possible that this painting muy have been copied from the lost original or painted under the super-
vision of Ter Brugghen.
6
Carolina Museum of Art
quality. Consquently, the episodcs involving David in the Book of Samuel have very often
been used as theme in visual art, and their iconography has shown much variety14.
Among these episodcs, the battle of the young shepherd David and the Philistine Goliath
and the discord between David and Saul have often been the subjects of sculpture and painting
from the fourteenth century on in Italy and later in the Netherlands. In particular, the story
of the battle with Goliath was, along with those of Lot and his daughters and the sacrifice of
Isaac, one of the favorite Old Testament subjects of the Caravaggisti15. Caravaggio himself
painted two known versions of David with the Head of Goliath (ca. 1609—10, Galleria Borghese,
Rome; ca. 1605—06, Kunsthistorisches Museum, Vienna). As for Ter Brugghen, his depiction
of this subject (1623, North Carolina Museum of Art, Releigh, Fig. 4) shows David with the
head of Goliath, returning to Israel with Saul16. They are being greeted by women „singing
14. Many examples are cited under, ,David" in Lc\icon der Chrisllichen Iconographie, Freiburg i. Br., 1968—72,1. col. 477—490.
15. B. Nicolson, Inlernatilnal Caravaggesque Mouemenl, Oxford, 1979, p. 209—220.
16. In my oppinion the attribution of this painting to Ter Brugghen — see B. Nicolson, Hendrick Terbrugghen, op. cii., A 50 —
is worth reconsidering because of the poor modelling and clumsj placement of the fingers, even when its ^\retched state
is taken into consideration. The composition and the type of figures nevertheless are reminiscent all the same of Ter Brug-
ghen, so that it is possible that this painting muy have been copied from the lost original or painted under the super-
vision of Ter Brugghen.
6