“And My Sin Is Ever Before Me” (Psalm 51: 3): A-temporality in Seventeenth-Century Paintings of King David
The article highlights the added value with which the scene of David with the head of Goliath has accumulated in the seventeenth century. During this period these paintings were intended to represent the young David as a penitent saint atoning for his sins rather than the divinely supported triumph...
| Published in: | Religion and the arts |
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| Main Author: | |
| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Brill
2022
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| In: |
Religion and the arts
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| Further subjects: | B
King David
B a-temporality B Guercino B Penitence B Guido Reni B Mary Magdalene |
| Online Access: |
Volltext (lizenzpflichtig) Volltext (lizenzpflichtig) |
| Summary: | The article highlights the added value with which the scene of David with the head of Goliath has accumulated in the seventeenth century. During this period these paintings were intended to represent the young David as a penitent saint atoning for his sins rather than the divinely supported triumph of the young shepherd over Goliath, the skilled and talented military hero. What is emphasized is the a-temporal nature of this iconography, using David, the boy who killed Goliath as atoning for his most grievous sin that he committed many years later when he was already king of Israel toward Uriah the Hittite. In what follows I would like to characterize the unique iconography developed in the early seventeenth century, which represents the young David as a penitent while Goliath’s head signals the memento mori. Goliath’s severed head stands for the skulls appearing in other visual representations of penitent saints. |
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| ISSN: | 1568-5292 |
| Contains: | Enthalten in: Religion and the arts
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| Persistent identifiers: | DOI: 10.1163/15685292-02601002 |