DOI Heft:
Nr. 1
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#0017
8. D. Barendsz, David with Harp as Psalmist, c. 1565, drawing, 20,4x27,8 cm, Amsterdam
Rijksmuseum
when Caravaggism was at its zenith in Utrecht32. If Ter Brugghen, who was working in a similar
environment, was inspired by Honthorst, that influence would no doubt have rather been
reflected in the David that was painted when Caravaggism was at its peak, that is, the one
painted before 1627 that remains to us only as a documentary record.
Another scholar who feels that the work by Honthorst should not be identified as the prototype
of the David is Slatkes, who instead points to similarities with David in the Tempie by Lastman
(1618, Herzog Anton Ulrich-Museum, Brunswick, Fig. 7)33. He states in particular that there
are certain details of the gestures of the singers that are common to both paintings. Here again,
though, we fail to find morę than broad, generał similarities.
The catalogue of the Hartford Museum of Art, which possesscs a version of David, mentions
a drawing by D. Barendsz (Rijksmuseum, Amsterdam, Fig. 8) as having motifs similar to those
in the Ter Brugghen painting34. David playing a harp, a large, open Psalter on a table, four
youths who peer into the Psalter from the left; the compositions of the two works are completely
different, but the individual motifs are relatively similar.
Meanwhile, as Poorter has indicated35, when we look at the composition of David playing
32. As mentioned in Y. Kobayashi,,,Ter Brugghen and Ca r avaggio", op. ctt., Caravaggism in Utrecht reached its peak between
1621—1625.
33. Hendrick Tcrbrugghen in America, op. cit., np. 15.
34. God en Goden, op. cit., p. 106, n°. 12.
35. N. de Poorter, „The Eucharist Serie", I and II, Corpus Rubenianum, Part II, 1978, p. 280—1.
11
Rijksmuseum
when Caravaggism was at its zenith in Utrecht32. If Ter Brugghen, who was working in a similar
environment, was inspired by Honthorst, that influence would no doubt have rather been
reflected in the David that was painted when Caravaggism was at its peak, that is, the one
painted before 1627 that remains to us only as a documentary record.
Another scholar who feels that the work by Honthorst should not be identified as the prototype
of the David is Slatkes, who instead points to similarities with David in the Tempie by Lastman
(1618, Herzog Anton Ulrich-Museum, Brunswick, Fig. 7)33. He states in particular that there
are certain details of the gestures of the singers that are common to both paintings. Here again,
though, we fail to find morę than broad, generał similarities.
The catalogue of the Hartford Museum of Art, which possesscs a version of David, mentions
a drawing by D. Barendsz (Rijksmuseum, Amsterdam, Fig. 8) as having motifs similar to those
in the Ter Brugghen painting34. David playing a harp, a large, open Psalter on a table, four
youths who peer into the Psalter from the left; the compositions of the two works are completely
different, but the individual motifs are relatively similar.
Meanwhile, as Poorter has indicated35, when we look at the composition of David playing
32. As mentioned in Y. Kobayashi,,,Ter Brugghen and Ca r avaggio", op. ctt., Caravaggism in Utrecht reached its peak between
1621—1625.
33. Hendrick Tcrbrugghen in America, op. cit., np. 15.
34. God en Goden, op. cit., p. 106, n°. 12.
35. N. de Poorter, „The Eucharist Serie", I and II, Corpus Rubenianum, Part II, 1978, p. 280—1.
11