A History of European Art

Lecture 34: Rembrandt

pulled Samson down and locked his arms around his quarry. The soldier on

top grasps Samson’s beard with his left mailed hand, while his right plunges

a dagger into Samson’s eye.

The light that À oods into the tent spotlights that eye, and several strong

diagonal lines lead directly to it. One diagonal is the halberd held at the ready

by the ¿ fth captor; another is the À eeing Delilah, with shears in her right

hand and the mane of Samson’s hair in her left; and a third is Samson’s right

leg, toes curled in agony. We are spared nothing in this scene: Samson’s eye

gushes blood; the halberdier at the left has a horri¿ ed expression; Delilah

looks back with staring eyes, as if fearful that

Samson will still break free of the soldiers. The

À ood of light that focuses on Samson is also

a visual release, a trumpet that is a metaphor

for a scream. In addition to the diagonals and

counter-diagonals, we see the compositional

circle that surrounds Samson’s head and

another larger one with his foot at its center;

the repetitive arcs of the armored arms make

us feel the horrible thrust twice.

Raising of the Cross (c. 1633) is one of ¿ ve

Passion scenes commissioned for the Prince

of Orange at the court of The Hague. The

compass effect of the cross is fascinating; the

diagonal body of Christ on the cross seems to

describe the arc of the painting’s top. The supernatural light focuses on Christ

and the back of the soldier who pulls the cross up. At the center, we ¿ nd

Rembrandt himself, placed there as a witness. An important concept during

the Reformation and Counter-Reformation—deep empathy—is found here.

Night Watch (c. 1640–1642) is one of the most famous and original group

portraits ever painted. Instead of a posed group of people at a banquet or a

meeting, Rembrandt took the opportunity to show this militia company in

action, not marching to some particular event but demonstrating the value

of arms and preparedness, the viability of the militia company in the defense

of freedom. The painting is properly titled the Militia Company of Captain

In etching, a copper

plate is coated with

a ground, usually

made of beeswax

and rosin. The

etcher draws a

design with a steel

needle, removing

the ground and

exposing the plate.