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Samson



Samson grew up with his father Manoah and his mother.

One day Samson went down to Timnah and saw a Philistine girl there. He wanted to marry the girl, but all the time also he sought a quarrel with the Philistines. Samson went down the vineyards at Timnah and as he came there a young lion advanced on him. The spirit of Yahweh was in Samson. Samson tore the lion to pieces with his bare hands. Samson then continued on to Timnah to look at the girl and he became fond of her. Somewhat later he went back to her. He found the carcass of the lion on his way and there was a swarm of bees in the lion’s body, and honey. He gave some of the honey to his father and mother.

His father then went down to ask the girl to marry his son and Samson organised a feast, as is the custom for young men. The Philistines chose thirty companions to stay with him. Samson then gave a riddle to the Philistines and made a bet for thirty pieces of fine linen and thirty festal robes. The Philistines took up the bet. Samson said that the riddle was, ‘Out of the eater came what is eaten, and out of the strong came what is sweet’. After three days he Philistines appealed to Samson’s wife for the answer of the riddle. So Samson’s wife wept on his neck for the seven days of the feasting and she was so persistent that Samson told he the answer. He finally inclined and gave her the story of the lion and the bees. The woman hurried to tell her countrymen. So the Philistines could give Samson the answer of the lion. Samson then retorted, ‘If you had not ploughed with my heifer, you would never have solved my riddle’. But Samson had lost the bet.

Samson went then to Ashkalon, killed thirty men there, took their robes and gave thirty festal robes to the Philistines who had answered the riddle. He returned to his father’s house and he repudiated his Philistine wife. Her father gave her to the best man who had witnessed the marriage. Not long after that Samson wanted to visit his wife again. But her father had given her away and Samson refused her younger sister. He was really mad at the Philistines then. He went off and caught three hundred foxes, took torches, bound the foxes tail to tail and put a torch between each pair of tails. He lit the torches and let the foxes run free in the cornfields of the Philistines. The corn, vines and olive trees of the Philistines burned down. As revenge the Philistines burned down the house of Samson’s former wife and of her father. This enraged Samson all the more so he continued to wreak havoc among the Philistines until he grew tired and went to live in a cave in the Rock of Etham.

The Philistines came to the tribe of Judah and threatened to destroy it. The men of Judah went to Samson. They did not kill him as the Philistines had asked, but bound his hands behind his back and brought him thus as a captive to the Philistines. When the Philistines came up running to Samson, Yahweh’s spirit descended on him. Samson’s rope broke suddenly? He took a jawbone and killed alone a thousand Philistines. Samson then threw the jawbone away, asked for a drink to Yahweh and Yahweh opened a hole in the ground from which gushed water. This is still today the spring of En-Ra-Kore at Lehi.

Samson was Judge of Israel for twenty years.

Samson and Delilah

Sir Anthony van Dyck (1589-1641). The Trustees of Dulwich Gallery – London. 1618-1620.



When Samson had been a Judge of Israel for twenty years, he fell in love with a woman of the Vale of Sorek called Delilah.

The Philistines came to see her. They asked her to find out where Samson’s strength came from. In return for telling them they promised to pay her eleven hundred silver shekels. Delilah pestered on Samson day after day and kept nagging at him. Samson at first made a fool of her and always gave her another untrue story on his strength, which Delilah then tested out. But in the end he gave up and told Delilah that if his hair were shorn, he would lose his strength. He told her he was a nazirite and that a nazirite should not be shorn. Delilah knew that this was the true reason for Samson’s strength then. She went to the Philistines and asked for the money. She lulled Samson to sleep, called a man and had him cut off Samson’s seven locks of hair. Thus she broke the strength of Samson. The Philistines could now seize him, put out his eyes and take him to Gaza where they fettered him with a double chain of bronze.

Many paintings were made of this tragedy that spoke to the imagination of many bible readers and the theme was particularly popular in the baroque seventeenth century.

In Sir Anthony van Dyck’s ‘Samson and Delilah’, we see Samson sleeping in Delilah’s lap. A Philistine barber shears off Samson’s nazirite hair. Delilah offers her lover’s neck to the barber but she urges the man to be deft and silent. Delilah holds her left arm up in fright and caution, and raises of finger to silence the barber. On the left, Philistine soldiers hide behind a column, still afraid of Samson’s strength, but soon preparing to bind him and take him away as their prisoner. On the right side of the canvas, two women – one elder, a procuress, and one younger – watch over Delilah’s shoulder. The younger one is in awe and surprise. She is all nervous tension. The older woman however is mainly curious, but determined. She eagerly watches every slight movement of the barber, as if guiding his hand. This is the old schemer that may have convinced Delilah to take the money. Now she makes sure the work is well done. Van Dyck situated the scene in an open loggia, so a patch of the blue sky appears in the upper part of the picture. Delilah lies on a couch and we see a heavy, rich brocaded gold and black bedspread down beneath.

Sir Anthony van Dyck used an example of Pieter Paul Rubens (1577-1640), namely a ‘Samson and Delilah’ painted by his master around 1609. Van Dyck would often, also in his later periods, use examples of other great painters such as Rubens or titian, as compositions for his pictures. Many times then he would invert the scene. In Ruben’s picture Delilah lies on the left; van Dyck situated her to the right. Rubens also let Samson sleep in Delilah’s lap. We can excuse van Dyck having used Rubens’ illustrious example, as the artist was only nineteen to twenty years old when he made this painting. At that time also he was still an assistant to Rubens.

Anthony van Dyck was born in 1599, more than four hundred years ago and about three thousand years after Samson’s being a Judge. Van Dyck’s father was a cloth and silk merchant of Antwerp but his paternal grandfather had been an artist and in his mother’s family also there had been artists. The boy had talents as a painter, so he was given in apprenticeship to Hendrik Van Balen, a quite successful artist of Antwerp. Anthony entered Van Balen’s workshop at ten years old, in 1609. Antwerp was still a rich town then, although it had run into economic difficulties. In 1609 a truce was settled between the Netherlands and Spain after forty years of war. The Netherlands had become a Protestant republic and the Southern Netherlands, and the province of Brabant with Antwerp remained under Spanish governance and was thus Roman Catholic even though Protestantism had thrived also there. The Dutch closed the River Schelde on which Antwerp laid so that the city’s trade declined, as heavy custom duties were levied by the Dutch, whereas Amsterdam, to which most of Antwerp’s Protestants had fled, thrived. The daughter of the Spanish King Philip II, called Isabella, and her husband Albert of Austria, ruled Flanders and Brabant.

Albert and Isabella ruled wisely and compassionately over a truce that really only lasted twelve years, but these were crucial years fro Anthony van Dyck. Many of the decorations of Antwerp’s churches had been destroyed during a Protestant iconoclasm, so there was much work for painters in the town. In 1608 the prince among the Flemish painters, Pieter Paul Rubens, had returned to Antwerp from a prolonged travel in Italy and Rubens’ paintings were well known to Anthony van Dyck, as around 1618-1620 he was working in Rubens’ workshop as an assistant to the great master.

Van Dyck had already started working on his own around 1615 or 1616 and had set up a workshop of his own with his friend Jan Breughel the Younger. In 1618 Van Dyck joined the Antwerp Guild of Painters as an independent master. In 1620-1621 he would travel to London and work for King James there. Apparently his fame had by then grown enough. Van Dyck soon returned from London however, but stayed there only for another eight months before leaving for Italy where he remained six years. Between 1627 and 1632 he was in Antwerp again. Then le left definitely for England and worked there. He was knighted at the court of London and was now called Sir. He died in London in 1640.

In ‘Samson and Delilah’ van Dyck used dark colours on the left side. Here the soldiers stand in black armour behind a dark grey column. The barber also is a dark grey to black mass that menaces Samson like a horrible ghost. Samson is half naked, only covered by a dark brown animal’s skin. From there on however, the tone of the colours change. Some light falls on Samson’s powerful back, but his skin – though of a somewhat lighter brown – is still dark. His head is crowned by his heavy black hair, whereas his beard is long, heavy and black also. All the light is concentrated on Delilah, to enhance her sensual fairness and nudity. She wears a marvellous long, silvery robe. This light grey-blue colour is only half a hue; there is no warmth of orange or red colours on Delilah and silver is the colour of the inconstant moon. On the robe van Dyck could demonstrate his professional talent. The play of light on the folds in chiaroscuro is magnificently rendered. Our eyes wander from Samson over the silver robe to the naked breasts of Delilah. Here lies a woman with full, voluptuous and alluring forms. Delilah seems not to care for her nudity, even in the presence of the barber and the soldiers. In Delilah is all the interest for such a scene to Baroque painters.

‘Samson and Delilah’ is a scene of violence and of erotic sensuality. Samson was one of the strongest men of the bible and a stern Judge of Israel, a man dedicated to God the sign of which was that he never shaved. Delilah is the most typical object of lust. The combination of these two in one scene amounted to a theme of tension between the masculine power of Samson and the feminine power of luxury and the senses impersonified in Delilah. Thus the story was a very moral one and at the same time the painters could delight in a depiction of power and of female attraction. The painting of van Dyck was eminently Baroque.

The Baroque style is in the very expressive faces of Delilah and of the women behind her. Van Dyck succeeded in showing the dark determination of the barber and the fear and tension in the prudent soldiers that have felt Samson’s power before. As most in Baroque, all the lines of the picture are curved and flowing, even in the main figures. Van Dyck eased some of the tension also by painting the scene in an open loggia instead of in a closed space where the apprehension would be too strong and it is difficult to see the alluring Delilah as a scrupulous schemer. Here she is just a lover; the schemer is the old woman behind her and in her gesture of silence we feel some regret. Van Dyck represented Delilah as he had seen Rubens do so. She is a wealthy Antwerp courtesan, wealthy in forms as in dress. She is an opulent blonde, going on weight, as Rubens liked to paint his women and she wears her blond hair like a golden crown. On her head is a jewel of pearls, always a symbol of seduction. Van Dyck would later paint much more sophisticated ladies of high standing.

There is something naïve and inexperienced in the way van Dyck depicted Delilah. ‘Samson and Delilah’ was an early work of Anthony van Dyck. That shows in the figure of Delilah. Some comparison can be made between the early work ‘Jephtah’s Sacrifice’ by the young Carle Van Loo and ‘Samson and Delilah’ of van Dyck. Both painters favoured an oblique composition following the left diagonal, going from the lower left to the upper right. This is a more natural movement for the hand, which comes easier to younger painters. Both painters showed emotions in a rather theatrical way. Van Loo could not paint baby children well so that the anatomy of the baby in the right part of the painting looks clumsy. Van Dyck painted a Delilah that is a delicious blonde from the country, but he missed some of the power of cunning in Delilah. The two painters showed however a complete mastery of drawing and of painting at a very young age.

The story of ‘Samson and Delilah’ had a very moral meaning in it, sine it showed a hero trapped by lust. So above Samson’s head, contrasting against the blue sky that brought some innocence and freedom in the scene, stands a golden vase with on its handle the figure of an aroused satyr.

The Blinding of Samson

Rembrandt Harmensz van Rijn. Städelsches Kunstinstitut – Frankfurt am Main. 1636.


Rembrandt Harmensz van Rijn painted the ‘Blinding of Samson’ in 1636. That was the year of happiness for the artist as he would rarely see later. A year and a half earlier, in 1634, he had married. True, his first son had died a few months after birth, but there was hope for other children. Rembrandt had started to deal in art, he had no money problems, and he had begun to gather a collection of all kinds of exotic objects. He had moved to another house in Amsterdam in 1635, he adored his wife and life seemed bright. Much of that joy can be seen in his painting of Samson, even thought he scene is horrible and gruesome of course. For one thing, it is one of the extremely few pictures in which Rembrandt used green and blue colours, and his yellow-golden hue on Samson is simply marvellous. It is also one of the paintings that is most Caravaggist. The painting is powerful, and Rembrandt who was thirty years old then, was in full confidence of his skills which were already fully acknowledged in Amsterdam.

We see Samson lying down on the floor of a room but we only see a kind of cavern lighted from the outside. Samson lies in the bright light. He wears a yellow robe and that robe glows golden in the incoming sun. He struggles, throws his feet in the air, but a man lies under him and pins him down, while heavily armoured Philistines enchain his arms. A soldier horribly pushes his dagger into his eye and so blinds him, while another stands near and points his oriental spear to his hearth. Blood rushes out of Samson’s eyes and we can hear the screaming of the tortured and contorted judge of Israel. Samson has no power anymore and Rembrandt also showed why, because on the right side of the cave Delilah flees to the light, trusting Samson’s hair before her and still holding the shears with which she cut off his nazirite power.

Rembrandt painted the most dramatic, tragic moment of the bible story and he did that with an unequalled power. Few artists could have imagined Samson on the ground, with his head to the viewer. Rembrandt showed the act of torture very close to the viewer and this moment could not be painted in a more pointed, direct and ghastly manner. Rembrandt had read the Bible story and retained the horror of the pains of Samson and he had wanted to paint exactly that. He succeeded in creating one of the most immediate, powerful scenes of religious painting.

The structure of the painting is in the ay of a V. Look at the white glimmering of the light on the right armoured soldiers. Th white shining forms the right side of the V. To the left stands an oriental soldier with a lance and the outline of this figure is the left side of the V. Inside the V is full bright light from the entering strong sunlight of Palestine. We may even see here the blue water of a lake and here also Delilah flees, dressed in a splendid green robe. The ‘Open V’ structure is a very traditional compositional structure for pictures, and Rembrandt also found it efficient for his scene since he could concentrate the light here on Samson. We could also distinguish a direction following the right diagonal, from the soldier that is blinding Samson to Delilah. Thus the two main actors of the crime are strongly linked in the picture.

Most remarkable and so wonderful in ‘The Blinding of Samson’ is Rembrandt’s use of colours. In almost no other painting did he use such wonderfully different and pure hues. Samson is in bright golden colours. The soldier on the left is painted in red hues. Delilah wears a bright, white short and a green robe. And on the ground under the soldier with the lance lies a blue cloth, whereas also some blue can be seen in the full light of the entrance. Rembrandt then also showed his wonderful skills in contrasts of light and dark in the left triangle of his composition, where we discover the armoured soldiers. The play of the light on their amour is brilliantly rendered. Rembrandt really sought colour in this painting, because he did not dress the soldier on the left in armour but instead showed him dressed like an oriental, Arab man, with a curved sword and dressed in wide red trousers. Rembrandt thus could paint his marvellous red here, as he would almost never again do. Look also at Delilah’s flimsy, transparent cloak that lies golden over her shoulders. Look at her golden thin hair string and at her face that Rembrandt painted in exquisite chiaroscuro. Delilah flees, but she has a satisfied and mean expression on her face.

‘The blinding of Samson’ is a truly wonderful picture of Rembrandt. It has strong structure, magnificent colours that surprise us for that artist, and it shows strong depiction of the very heath of the action, however horrendous. Pictures like this are rare. They are among the very best, the very greatest art of the seventeenth century. The picture has no direct reminiscence to Rembrandt’s own life. It dates from a period in which the painter certainly could still keep a distance between his own feelings and his art. So it may lack some of the personal tragic of the man that made it. But it remains a superb display of professional skills by a painter that entirely mastered the subject.

Rembrandt Harmensz van Rijn painted the ‘Blinding of Samson’ in 1636. That was the year of happiness for the artist as he would rarely see later. A year and a half earlier, in 1634, he had married. True, his first son had died a few months after birth, but there was hope for other children. Rembrandt had started to deal in art, he had no money problems, and he had begun to gather a collection of all kinds of exotic objects. He had moved to another house in Amsterdam in 1635, he adored his wife and life seemed bright. Much of that joy can be seen in his painting of Samson, even thought he scene is horrible and gruesome of course. For one thing, it is one of the extremely few pictures in which Rembrandt used green and blue colours, and his yellow-golden hue on Samson is simply marvellous. It is also one of the paintings that is most Caravaggist. The painting is powerful, and Rembrandt who was thirty years old then, was in full confidence of his skills which were already fully acknowledged in Amsterdam.

We see Samson lying down on the floor of a room but we only see a kind of cavern lighted from the outside. Samson lies in the bright light. He wears a yellow robe and that robe glows golden in the incoming sun. He struggles, throws his feet in the air, but a man lies under him and pins him down, while heavily armoured Philistines enchain his arms. A soldier horribly pushes his dagger into his eye and so blinds him, while another stands near and points his oriental spear to his hearth. Blood rushes out of Samson’s eyes and we can hear the screaming of the tortured and contorted judge of Israel. Samson has no power anymore and Rembrandt also showed why, because on the right side of the cave Delilah flees to the light, trusting Samson’s hair before her and still holding the shears with which she cut off his nazirite power.

Rembrandt painted the most dramatic, tragic moment of the bible story and he did that with an unequalled power. Few artists could have imagined Samson on the ground, with his head to the viewer. Rembrandt showed the act of torture very close to the viewer and this moment could not be painted in a more pointed, direct and ghastly manner. Rembrandt had read the Bible story and retained the horror of the pains of Samson and he had wanted to paint exactly that. He succeeded in creating one of the most immediate, powerful scenes of religious painting.

The structure of the painting is in the ay of a V. Look at the white glimmering of the light on the right armoured soldiers. Th white shining forms the right side of the V. To the left stands an oriental soldier with a lance and the outline of this figure is the left side of the V. Inside the V is full bright light from the entering strong sunlight of Palestine. We may even see here the blue water of a lake and here also Delilah flees, dressed in a splendid green robe. The ‘Open V’ structure is a very traditional compositional structure for pictures, and Rembrandt also found it efficient for his scene since he could concentrate the light here on Samson. We could also distinguish a direction following the right diagonal, from the soldier that is blinding Samson to Delilah. Thus the two main actors of the crime are strongly linked in the picture.

Most remarkable and so wonderful in ‘The Blinding of Samson’ is Rembrandt’s use of colours. In almost no other painting did he use such wonderfully different and pure hues. Samson is in bright golden colours. The soldier on the left is painted in red hues. Delilah wears a bright, white short and a green robe. And on the ground under the soldier with the lance lies a blue cloth, whereas also some blue can be seen in the full light of the entrance. Rembrandt then also showed his wonderful skills in contrasts of light and dark in the left triangle of his composition, where we discover the armoured soldiers. The play of the light on their amour is brilliantly rendered. Rembrandt really sought colour in this painting, because he did not dress the soldier on the left in armour but instead showed him dressed like an oriental, Arab man, with a curved sword and dressed in wide red trousers. Rembrandt thus could paint his marvellous red here, as he would almost never again do. Look also at Delilah’s flimsy, transparent cloak that lies golden over her shoulders. Look at her golden thin hair string and at her face that Rembrandt painted in exquisite chiaroscuro. Delilah flees, but she has a satisfied and mean expression on her face.

‘The blinding of Samson’ is a truly wonderful picture of Rembrandt. It has strong structure, magnificent colours that surprise us for that artist, and it shows strong depiction of the very heath of the action, however horrendous. Pictures like this are rare. They are among the very best, the very greatest art of the seventeenth century. The picture has no direct reminiscence to Rembrandt’s own life. It dates from a period in which the painter certainly could still keep a distance between his own feelings and his art. So it may lack some of the personal tragic of the man that made it. But it remains a superb display of professional skills by a painter that entirely mastered the subject.

The Revenge of Samson

Johann Georg Platzer (1704-1761). Österreichische Galerie im Belvedere. Vienna. Ca. 1740.


Samson had to turn the mill in the prison. But slowly his hair began to grow again.

The Philistines assembled for a great sacrifice to Dagon their God and for a feast on their victory over Samson. They even summoned Samson out of prison to perform feats for them at the celebration. During the feast Samson came to stand between the pillars supporting the building. The building was crowded with Philistines. Samson called out to Yahweh. He took hold one the two central pillars, braced himself with one arm around the right pillar, and with the other arm around the left pillar. He then heaved with all his might, shouting he wanted to die with the Philistines. The pillars moved and the whole building collapsed on the Philistine chieftains and on the three thousand men and women who had participated at the feast. All were killed.

Johann Georg Platzer took up the theme of Samson’s revenge in the eighteenth century. He was born in the Southern Tyrol region and he learned to paint with his stepfather Joseph Anton Kessler at Innsbruck, then with his uncle Christoph Platzer at Passau. He came to Vienna, the capital of Austria, around 1721 and he painted pictures there for the rich middle class families of the town. He met the Austrian painter Franz Christoph Janneck there and became friends with him. The work of both these painters has similarities, but Platzer was more flamboyant even in his Baroque representations of scenes with very many figures than Janneck. Platzer’s fame for gallant mythological, historical and genre pieces grew so much that he delivered from out of Vienna works for the rich and noble from London to Moscow and Saint Petersburg. In a later age, after a stroke, Platzer retired to his home village again, to Sankt Michael im Eppan, where he changed his style to rougher brushstrokes.

Platzer’s ‘Samson’s Revenge’ is a spectacular picture for which the artist worked in oil on a copper plate. His painting is one of the largest coppers ever made; its dimensions are 76 by 95 cm. Copper is a superb medium for paint. It allows splendid detail and brilliant colours. German copper painters, starting with Adam Elsheimer, offered a wealth of very small details and of very many figures, and Platzer’s picture is no exception to the tradition.

We see an incredible chaos of figures and objects in Johann Georg Platzer’s painting. The falling balcony that seems to hang, suspended in the air, grips the viewer’s attention immediately. Various figures also fall in all directions. Under the balcony we discover a bald Samson, embracing two columns more than tearing at them. The columns come away and all lines around Samson thus are oblique, everything is falling around him. The columns do not seem heavy and strong. Samson pushes them out and they give in easily so that they look like carton replicas in a cheap movie. The lines of the columns are in all directions as they come apart at Samson’s hands. Platzer used skilfully a design of lines in all directions; all lines being skewed. The world is being destroyed and in all places the architecture breaks down, drawing people in the destruction. At the top of the painting people are screaming out, throwing their hands in the air in signs of panic, disarray and fear. Butt he powerful balcony descends. Here Delilah falls, naked under a bright blue gown and surrounded by powerful Philistine soldiers. The figures seem to hang in the air, as if movement was frozen by surprise at the first moments of the drama. The figures fly in the air like angels or putti in Rococo pictures. But we know they are real people of a Bible tragedy, falling to their deaths. The exaggeration, also in the chaos of people and objects beneath, is much a terrible scene. And yet, we see this picture also as decoration, the decorative aspects were its intention.

Notwithstanding the apparent chaos, Platzer used a strong composition in this painting, though one we are not so accustomed to. He placed dark scenes along the sides and his setting is as if in a theatre, so that the scene opens in the middle like an ‘open V’ structure. The real composition however, the real V structure is in the falling balcony. This scene is also in the form of a triangle, of an ‘open V’, but the V does here not open to a wide landscape, but it contains the very crux of the drama. The V is filled with the balcony and the falling people. This kind of composition, which looks also like the traditional pyramid inverted, is quite unusual. The balcony and falling people form a heavy triangle shape of intertwined forms and lines. These enhance the effect of weight that comes down on Samson, top down. A pyramid on its top is always an image of a very unstable construction since such a shape cannot stand – it will always fall. Platzer used this very cleverly to increase in the viewer the impression of the falling. The structure was ideal for such a scene.

Pictures like ‘Samson’s Revenge’ are a delight as curiosi images. They are scenes with spectacular dramatic views that can impress any viewer immediately. They contain so many details that viewers can stand a long time before them, to discover all the elements. And it takes some time to discover Delilah falling, to see another Delilah down on the right, to discover the strong muscled Philistines, to admire all the golden vases lying on the ground. Johann Georg Platzer made pictures like these for sheer delight and the medium of copper allowed him to work with very fine colour touches. Platzer’s imagination was totally unbridled in ‘Samson’s Revenge’ and he knew perfectly how to catch a world of figures in different, spectacular action and passion. Platzer’s painting is the circus of Baroque leaning to the decorative outbursts of Rococo style. The artist used dramatic action almost as a gentle genre scene with people falling to their death painted as if they were flying in the air. A viewer will find in the picture half naked men and women, soldiers, grotesque architecture, golden vases and brocaded cloths. Platzer made of ‘Samson’s Revenge’ a spectacular capriccio for the eyes.

Samson’s brothers and his father’s family came down and carried his body away. They buried him in the tomb of Manoah, his father. Samson had been a Judge of Israel for twenty years.

Other Paintings:



Copyright: René Dewil Back to the navigation screen (if that screen has been closed) Last updated: January 2007
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