Meir Panim implements programs that serve Israel’s neediest populations with respect and dignity. Meir Panim also coordinated care packages for families in the South during the Gaza War.
German artist, Albrecht Dürer’s woodcut “Samson Slaying the Lion” (1497-98) shows the warrior-prophet with the unkempt hair and beard of a Nazarite, sitting on the back of a lion, whose jaws he pulls apart. The lion looks up at Samson with surprise, its arched tongue mimicking Samson’s curly hair as it gasps for breath. Although Dürer has carefully etched the castles and cityscape in the background, he (probably intentionally) blurs the boundary between Samson, the lion and its wavy mane, and a cliff in the middle-ground. The viewer gets the sense that man and cat meld, and Samson is perhaps fighting not only an actual lion but also grappling with the inner beast that leads him to massacre Philistines and ultimately take his own life.
Dürer’s Samson, which is part of the exhibit “Albrecht Dürer: Art in Transition” at the Museum of Biblical Art, bears some resemblance to the biblical Samson, with a few important modifications. Samson seems to have encountered the lion descending from the top right corner, which follows the biblical account of Samson and his parents going down to Timnah.
According to Judges 14, Samson demanded that his parents take a Philistine wife for him from Timnah. His parents, not knowing that this intermarriage was divinely ordained, asked him, “Is there no wife for you among the daughters of your brothers and in my whole nation [the text uses the singular] – that you go to take a wife from the uncircumcised Philistines?” Still, Samson persisted, so his parents accompanied him to Timnah. Along the way, at the vineyards of Timnah, Samson killed a young lion without his parents’ knowledge, which suggests his parents went through the vineyard while Samson circumvented it, not wanting to temp himself with the grapes that were forbidden to him as a Nazarite.
Dürer removes Samson’s parents from his woodcut, which explains why they are ignorant of their son’s wrestling feat. But the woodcut also removes the vineyard, replacing it with foliage that looks more European than Middle Eastern, a move that hardly surprises Ena Heller, executive director of MOBIA. “Very often Dürer’s landscapes reflect his German surroundings, or his trips, so they cannot necessarily be read as either historically accurate, or symbolic,” she said in an interview.
In fact, a good argument can be made that the woodcut was influenced by Dürer’s fellow German artist, Israhel van Meckenem. Van Meckenem’s 1475 engraving “Samson and the Lion”, which appears in several collections, including the British Museum and the National Gallery of Art in Washington, D.C., has many of the same elements as Dürer’s: Samson sitting on the lion’s back, the lion’s jaws being wrested apart, similar treatment of Samson’s and the lion’s curls, and a castle on a cliff in the background.
This work follows another “Samson kills the lion with his bare hands”, created in 1332 by Michiel van der Borch. In the 14th century illumination on vellum, which was part of a bible by the Flemish poet, Jacob van Maerlant, Samson faces the lion and pulls its jaws apart.
I wonder if there may not also be an artistic fascination with the lion’s jaw that is rooted in the biblical text. After all, Samson later uses the jaw bone of a donkey he has killed to fight Philistines. Perhaps this revealed to the artists that Samson was in the habit of dismembering his victims, or at least the animals he defeated, and saving the jaw bone. Perhaps it also alludes to Samson’s tragic flaw – his mouth, which gets him into trouble when he reveals his secret to his traitorous wife.
What is clear is that this depiction of the text, which Dürer inherited, was passed on to future artists, most immediately Lucas Cranach the Elder, whose “Samson vanquishing the lion” (circa 1520-25) picks up where Dürer left off; a sandaled Samson steps on the lion’s neck (a direct quotation from Dürer), while pulling its jaws apart, and the castle appears right where it belongs, on a cliff in the background.
But Cranach misses one aspect of Dürer’s work that might be his own invention. Where all the other artists show the lion flattened in profile (perhaps suggesting inspiration from the cartoon depictions of the Zodiac sign Leo), Dürer rounds the lion’s face out and makes it look real and three-dimensional. In fact, Dürer’s Samson has to cover the lion’s face with his hands to kill it, which might further reinforce the thesis that Dürer’s Samson is grappling, at least in part, with his inner lion.
Menachem Wecker welcomes comments at email@example.com. He is a painter and writer, residing in Washington, DC.
About the Author: Menachem Wecker, who blogs on faith and art for the Houston Chronicle at http://blogs.chron.com/iconia, welcomes comments at firstname.lastname@example.org.
If you don't see your comment after publishing it, refresh the page.
Comments are closed.
Each student received a brachah and a handshake.
Sadly, there are mothers who, due to severe depression are unable or unwilling to prepare nourishing food for their children.
Michal had never been away from home. And now, she was going so far away, for so long – an entire year!
Though if you do have a schach mat, you’ll realize that it cannot actually support the weight of the water.
Social disabilities occur at many levels, but experts identify three different areas of learning and behavior that are most common for children who struggle to create lasting social connections.
Sukkot is an eternal time of joy, and if we are worthy, of plenty.
Two of our brothers, Jonathan Pollard and Alan Gross, sit in the pit of captivity. We have a mandate to see that they are freed.
Chabad of South Broward has 15 Chabad Houses in ten cities.
Victor Center works in partnership with healthcare professionals, clergy, and the community to sponsor education programs and college campus out reach.
So just in case you’re stuck in the house this Chol HaMoed – because there’s a new baby or because someone has a cold – not because of anything worse, here are six ideas for family fun at home.
We are told that someone who says that God’s mercy extends to a bird’s nest should be silenced.
The exhibit, according to a statement from guest curator Michele Waalkes which is posted on the museum website, “examines how faith can inform and inspire artists in their work, whether their work is symbolic, pictorial, or textual in nature. It further explores how present-day artwork can lead audiences to ponder God, religious themes, venerated traditions, or spiritual insights.”
It all started at an art and education conference at the Yeshiva University Museum. When one of the speakers misidentified a Goya painting at the Frick Collection, both the gentleman sitting next to me and I turned to each other and corrected the error simultaneously.
One of my favorite places when I was growing up in Boston was the used bookstore on Beacon and St. Mary’s streets. Boston Book Annex could play a used bookshop on television; it was dimly lit and cavernous, crawling with cats, and packed with a dizzying array of books, many of which sold three for a dollar. But used bookstores of this sort, however picturesque and inviting, are a relatively modern phenomena. In the Middle Ages, for example, I would never have been able to afford even a single used book unless I had been born into an aristocratic family. (Full disclosure, I was not.)
Jewish medals, several with Hebrew inscriptions and provocative imagery, were among the gems at The European Art Fair (TEFAF) in Maastricht, Netherlands, as I wrote in these pages two weeks ago. Another mini-trend at the fair, which will interest Jewish art aficionados, was an abundance of works by Marc Chagall.
It’s virtually impossible to ignore the financial aspects of TEFAF Maastricht, the annual arts and antiques fair in the historic city about two hours south of Amsterdam. More than 250 dealers from nearly 20 countries sell their wares—which span from Greek and Roman antiquities to contemporary sculptures—in the halls of the Maastricht Exhibition and Congress Centre, whose corridors are adorned by nearly 65,000 tulips.
Max Ferguson’s 1993 painting Katz’s may be the second most iconic representation of the kosher-style delicatessen after the 1989 Billy Crystal and Meg Ryan film, When Harry Met Sally. Ferguson’s photorealistic painting depicts the deli from an interesting perspective, which is simultaneously inviting and hostile—in short, the dichotomy of deli culture.
The whole idea of an artful pushka (tzeddakah or charity box) is almost a tease, if not an outright mockery. Isn’t there something pretty backward about investing time and money in an ornate container to hold alms for the poor?
Located about nine miles north of Madrid, the Palacio Real de El Pardo (Pardo Palace) dates back to the early 15th century. Devastated by a March 13, 1604 fire that claimed many works from its priceless art collection, the Pardo Palace and its vast gardens were used as a hunting ground by the Spanish monarchs.
Printed from: http://www.jewishpress.com/sections/innovation-and-imitation-in-albrecht-durers-samson/2008/09/03/
Scan this QR code to visit this page online: