Nicolas Regnier (1591-1667)
Amnon and Tamar, c. 1650
Oil on canvas
Height: 74.6 cm; Width: 107 cm
Staatsgalerie Stuttgart
Nicolas Régnier (1591–1667), known in Italy as Niccolò Renieri, was a painter, art dealer and art collector from the County of Hainaut, a French-speaking part of the Spanish Netherlands. He is often referred to as a Flemish artist because this term was often used to designate people from the Spanish Netherlands. After training in Antwerp, he was active in Italy where he was part of the international Caravaggesque movement. His subjects include genre scenes with card players, fortune tellers, soldiers and concerts, religious scenes, saints, mythological and allegorical scenes, and portraits. He also painted a few scenes with carnivals. More on Nicolas Régnier
King David’s son Absalom had a beautiful sister named Tamar. And Amnon, her half brother, fell desperately in love with her. Amnon became so obsessed with Tamar that he became ill. She was a virgin, and Amnon thought he could never have her.
But Amnon had a very crafty friend—his cousin Jonadab. He was the son of David’s brother Shimea. One day Jonadab said to Amnon, “What’s the trouble? Why should the son of a king look so dejected morning after morning?”
So Amnon told him, “I am in love with Tamar, my brother Absalom’s sister.”
“Well,” Jonadab said, “I’ll tell you what to do. Go back to bed and pretend you are ill. When your father comes to see you, ask him to let Tamar come and prepare some food for you. Tell him you’ll feel better if she prepares it as you watch and feeds you with her own hands.”
So Amnon lay down and pretended to be sick. And when the king came to see him, Amnon asked him, “Please let my sister Tamar come and cook my favorite dish[b] as I watch. Then I can eat it from her own hands.” So David agreed and sent Tamar to Amnon’s house to prepare some food for him.
Absalom (1896-1902
Gouache on board
The Jewish Museum, New York
Jacques Joseph Tissot (15 October 1836 – 8 August 1902), Anglicized as James Tissot, was a French painter and illustrator. He was a successful painter of Paris society before moving to London in 1871. He became famous as a genre painter of fashionably dressed women shown in various scenes of everyday life. He also painted scenes and figures from the Bible. More on John J. Tissot
When Tamar arrived at Amnon’s house, she went to the place where he was lying down so he could watch her mix some dough. Then she baked his favorite dish for him. But when she set the serving tray before him, he refused to eat. “Everyone get out of here,” Amnon told his servants. So they all left.
Jan Steen (1625/1626–1679)
Amnon and Tamar, circa 1661-1670
Oil on oak wood
Height: 67 cm (26.3 in); Width: 83 cm (32.6 in)
Wallraf–Richartz Museum
Jan Havickszoon Steen (c. 1626 – buried 3 February 1679) was a Dutch genre painter of the 17th century. His works are known for their psychological insight, sense of humour and abundance of colour. Steen was born in Leiden, where his well-to-do, Catholic family. He was the eldest of eight or more children. Like his even more famous contemporary Rembrandt van Rijn, Jan Steen attended the Latin school and became a student in Leiden. He received his painterly education from Nicolaes Knupfer (1603–1660), a German painter of historical and figurative scenes in Utrecht. Influences of Knupfer can be found in Steen's use of composition and colour. Other sources of inspiration were Adriaen van Ostade and Isaac van Ostade, painters of rural scenes, who lived in Haarlem. Whether Steen actually studied with Ostade is not known.
In 1648 Jan Steen and Gabriël Metsu founded the painters' Guild of Saint Luke at Leiden. Soon after he became an assistant to the renowned landscape painter Jan van Goyen and moved into his house on the Bierkade in The Hague. On Oct 3, 1649 he married van Goyen's daughter Margriet, with whom he would have eight children. Steen worked with his father-in-law until 1654, when he moved to Delft, where he ran the brewery De Slang for three years without much success.
Steen lived in Warmond, just north of Leiden, from 1656 till 1660 and in Haarlem from 1660 till 1670 and in both periods he was especially productive. In 1670, after the death of his wife in 1669 and his father in 1670, Steen moved back to Leiden, where he stayed the rest of his life. When the art market collapsed in 1672, called the Year of Disaster, Steen opened a tavern. In April 1673 he married Maria van Egmont, who gave him another child. In 1674 he became president of the Saint Lucas Guild. Frans van Mieris became one of his drinking companions. He died in Leiden in 1679 and was interred in a family grave in the Pieterskerk. More on Jan Havickszoon Steen
Philip van Santvoort (1698–)
The Rape of Tamar by Amnon, c. between 1719 and 1723
Height: 59.8 cm (23.5 in); Width: 49.4 cm (19.4 in)
National Gallery
Dirck Dircksz van Santvoort (bapt. 16 December 1609 – bur. 9 March 1680) was a Dutch Golden Age painter.
Santvoort was born and died in Amsterdam, where he married in 1648 and had a son named Rembrandt. He married a second time in 1657. Though not registered as a Rembrandt pupil, he is considered a member of Rembrandt's school of painting, creating portraits and historical allegories.
He was the brother of the landscape painter Pieter Dircksz Santvoort. More on Philip van Santvoort
Then he said to Tamar, “Now bring the food into my bedroom and feed it to me here.” So Tamar took his favorite dish to him. But as she was feeding him, he grabbed her and demanded, “Come to bed with me, my darling sister.”
Verkolje, Nicolaes. 1673-1746
Amnon and Tamar
Oil on wood panel
35,5x43 cm
Hermitage
Nicolaas Verkolje (11 April 1673, Delft – 21 January 1746, Amsterdam), was a Dutch painter and mezzotint maker.
According to Houbraken he was the son of Jan Verkolje and the only one of 5 children to carry on his art. Houbraken intended to write a biographical sketch of Nicolaas in his birth year of 1673, but never got that far.
According to the RKD both he and his brother Jan II became painters, having learned painting from their father. Nicolaas became the teacher of Jan Matthias Kok, Jan Maurits Quinkhard, Arnout Rentinck[2] and Gerrit Zegelaar. More on Nicolaas Verkolje
Unidentified Artist
Amnon and Tamar
Oil on canvas
50 1/2 x 55 inches
High Museum of Art
Anonymous Italian artist. 17th century
Amnon and Tamar
Oil on canvas
89,5х106 cm
The State Hermitage Museum
“No, my brother!” she cried. “Don’t be foolish! Don’t do this to me! Where could I go in my shame? And you would be called one of the greatest fools in Israel. Please, just speak to the king about it, and he will let you marry me.”
Eustache Le Sueur (French, Paris 1616–1655 Paris)
The Rape of Tamar, probably ca. 1640
Oil on canvas
74 1/2 x 63 1/2 in. (189.2 x 161.3 cm)
The Metropolitan Museum of Art
A pervasive classicism tempers the violence of this scene, which may represent the biblical Old Testament character Tamar about to be raped by her half brother Amnon. A freeze-frame effect is achieved through the use of staid yet dramatic gestures that Le Sueur derived from classical sculpture. They align perfectly with how fellow painter Charles Le Brun would soon theorize the best methods of representing historical narrative. Shortly after this work was painted, in 1648, both would become founding members of the Académie Royale, which sought to elevate painters’ intellectual and social standing in French society. More on this painting
Eustache Le Sueur, Le Sueur also spelled Lesueur, (baptized Nov. 19, 1617, Paris, France—died April 30, 1655, Paris), painter known for his religious pictures in the style of the French classical Baroque. Le Sueur was one of the founders and first professors of the Royal Academy of Painting and Sculpture.
Le Sueur studied under the painter Simon Vouet and was admitted at an early age into the guild of master painters. Some paintings reproduced in tapestry brought him notice, and his reputation was further enhanced by a series of decorations for the Hôtel Lambert that he left uncompleted. He painted many pictures for churches and convents, among the most important being The Sermon of Saint Paul at Ephesus, and his famous series of 22 paintings of the Life of St. Bruno, executed in the cloister of the Chartreux. More on Eustache Le Sueur
Giovanni Francesco Barbieri, called Guercino
Amnon and Tamar, c. 1649-1650
Oil on canvas
123 x 158.5 cm (48 7/16 x 62 3/8 in.)
The National Gallery of Art
Giovanni Francesco Barbieri, called Guercino; See below
“No, no!” Tamar cried. “Sending me away now is worse than what you’ve already done to me.”
Alexandre Cabanel (1823–1889)
Thamar, c. 1875
“Throw this woman out, and lock the door behind her!”
Oil on canvas
Length: 2.4 m (97.6 in); Height: 1.8 m (70.8 in)
Musée d'Orsay
Alexandre Cabanel (28 September 1823 – 23 January 1889) was a French painter born in Montpellier, Hérault. He painted historical, classical and religious subjects in the academic style. He was also well known as a portrait painter. According to Diccionario Enciclopedico Salvat, Cabanel is the best representative of the L'art pompier and Napoleon III's preferred painter.
Cabanel entered the École des Beaux-Arts in Paris at the age of seventeen, and studied with François-Édouard Picot. He exhibited at the Paris Salon for the first time in 1844, and won the Prix de Rome scholarship in 1845 at the age of 22. Cabanel was elected a member of the Institute in 1863. He was appointed professor at the École des Beaux-Arts in 1864 and taught there until his death.
He was closely connected to the Paris Salon: "He was elected regularly to the Salon jury and his pupils could be counted by the hundred. Through them, Cabanel did more than any other artist of his generation to form the character of belle époque French painting". His refusal together with William-Adolphe Bouguereau to allow the impressionist painter Édouard Manet and many other painters to exhibit their work in the Salon of 1863 led to the establishment of the Salon des Refusés by the French government. Cabanel won the Grande Médaille d'Honneur at the Salons of 1865, 1867, and 1878. More on Alexandre Cabanel
James Tissot (1836–1902)
Desolation of Tamar, between circa 1896 and circa 1902
Gouache on board Edit this at Wikidata
Height: 27.5 cm (10.8 in) Width: 18.9 cm (7.4 in)
Jewish Museum
So the servant put her out and locked the door behind her. She was wearing a long, beautiful robe, as was the custom in those days for the king’s virgin daughters. But now Tamar tore her robe and put ashes on her head. And then, with her face in her hands, she went away crying.
Guercino (Cento 1591 – Bologna 1666)
Absalom and Tamar, circa 1644 - 1666
Oil on canvas (twill)
1270 x 1499 mm (50 x 59 in)
Tatton Park, The Egerton Collection (National Trust)
Giovanni Francesco Barbieri (February 8, 1591 – December 22, 1666), best known as Guercino, was an Italian Baroque painter and draftsman from the region of Emilia, and active in Rome and Bologna. The vigorous naturalism of his early manner is in contrast to the classical equilibrium of his later works. His many drawings are noted for their luminosity and lively style.
Mainly self-taught, at the age of 16, he worked as apprentice in the shop of Benedetto Gennari, a painter of the Bolognese School. By 1615, he moved to Bologna, where his work was praised by Ludovico Carracci. Guercino painted two large canvases, Elijah Fed by Ravens and Samson Seized by Philistines, for Cardinal Serra, a Papal Legate to Ferrara. These paintings have a stark naturalist Caravaggesque style, although it is unlikely that Guercino saw any of the Roman Caravaggios first-hand.
Guercino's early works are often tumultuous. He often claimed that his early style was influenced by a canvas of Ludovico Carracci that he saw in the Capuchin church in Cento. Some of his later works are closer to the style of his contemporary Guido Reni, and are painted with more lightness and clearness. More on Guercino
Andrea Celesti (1637–1712)
AMNON'S OUTRAGE ON BEHALF OF HIS SISTER TAMAR ABSALOM
Oil on canvas
7 5/16 x 9 5/16 in. (18.5 x 23.7 cm.)
Private collection
When King David heard what had happened, he was very angry. And though Absalom never spoke to Amnon about this, he hated Amnon deeply because of what he had done to his sister.
Two years later, when Absalom’s sheep were being sheared at Baal-hazor near Ephraim, Absalom invited all the king’s sons to come to a feast. He went to the king and said, “My sheep-shearers are now at work. Would the king and his servants please come to celebrate the occasion with me?”
Mattia Preti (Taverna, Calabria 1613-1699 Valletta, Malta)
The Feast of Absalom
Oil on canvas
46 x 66¼ in. (116.8 x 168.2 cm.)
Private collection
The subject is taken from Samuel, XIII: v. 28, and describes how Absalom, son of King David, sought revenge on his half-brother Amnon, for the rape of his sister Tamar. He invited the unsuspecting Amnon to a banquet and after lulling him with wine and food, he signalled his assassins to murder him. More on this painting
Mattia Preti (24 February 1613 – 3 January 1699) was an Italian Baroque artist who worked in Italy and Malta. He was also a member of the Order of Saint John. Born in the small town of Taverna in Calabria, Preti was called Il Cavalier Calabrese (the Calabrian Knight) after he was accepted into the Order of St. John (Knights of Malta) in 1660. His early apprenticeship is said to have been with the "Caravaggist" Giovanni Battista Caracciolo, which may account for his lifelong interest in the style of Caravaggio.
Before 1630, Preti joined his brother Gregorio in Rome, where he became familiar with the techniques of Caravaggio and his school as well as with the work of Guercino, Rubens, Guido Reni, and Giovanni Lanfranco. In Rome, he painted fresco cycles in the churches of Sant'Andrea della Valle and San Carlo ai Catinari. Between 1644 and 1646, he may have spent time in Venice, but remained based in Rome until 1653, returning later in 1660-61. He painted frescoes, and participated in the fresco decoration of the Palazzo Pamphilj in Valmontone.
During most of 1653-1660, he worked in Naples, where he was influenced by another major painter of his era, Luca Giordano. One of Preti's masterpieces were a series of large frescoes, ex-votos of the plague, depicting the Virgin or saints delivering people from the plague. The bozzetto of the Virgin with the baby Jesus looming over the dying.
Having been made a Knight of Grace in the Order of St John, he visited the order’s headquarters in Malta in 1659 and spent most of the remainder of his life there. Preti was fortunate to enjoy a long career and have a considerable artistic output. His paintings, representative of the exuberant late Baroque style, are held by many great museums, including important collections in Naples, Valletta, and in his hometown of Taverna. More Mattia Preti
The king replied, “No, my son. If we all came, we would be too much of a burden on you.” Absalom pressed him, but the king would not come, though he gave Absalom his blessing.
“Well, then,” Absalom said, “if you can’t come, how about sending my brother Amnon with us?”
“Why Amnon?” the king asked. But Absalom kept on pressing the king until he finally agreed to let all his sons attend, including Amnon. So Absalom prepared a feast fit for a king.
Absalom told his men, “Wait until Amnon gets drunk; then at my signal, kill him! Don’t be afraid. I’m the one who has given the command. Take courage and do it!” So at Absalom’s signal they murdered Amnon. Then the other sons of the king jumped on their mules and fled.
Andrea Celesti (1637–1712)
AMNON'S OUTRAGE ON BEHALF OF HIS SISTER TAMAR ABSALOM
Oil on canvas
7 5/16 x 9 5/16 in. (18.5 x 23.7 cm.)
Private collection
Andrea Celesti (1637–1712) was an Italian painter of the Baroque period, working in Venice. His style gravitated over the years from a turgid and academic weightiness to a lighter, looser brushstroke.
Celesti first trained with Matteo Ponzoni, then with Sebastiano Mazzoni. During his early years (1659–1669) he worked in Venice, both in sundry labors for Doge's palace, and frescoes for the main salon of the Palazzo Erizzo. In 1676, he painted doge Nicolò Sagredo’s portrait for the Sala dello Scrutinio in Ducal Palace. For the same site, in 1680, he painted canvases of Moses destroys the golden calf. In 1681, he was awarded the title of Cavalieri by Doge Alvise Contarini. In 1684, he helped in the decoration of San Zaccaria. Some sources claim he joined a "collegio" for Venetian painters in 1687; perhaps this reflects that in 1708, he joined the Fraglia or guild of Venetian painters.
Andrea Celesti’s pupil included Albert Calvetti and Angelo Trevisani. His son, Stefano Celesti was also a painter. More on Andrea Celesti
Niccolò de Simone
The Banquet of Absalom
Oil on canvas
Height: 63 cm (24.8 in); Width: 92 cm (36.2 in)
Private collection
Niccolò De Simone, (died circa 1677) was a Flemish painter, active during 1636-1654 in Naples, Italy. He was born in Liege. His style suggests he was in the circle or influenced by Massimo Stanzione, Bernardo Cavallino, and Mattia Preti. Bernardo de' Dominici claims he was also painting in Spain and Portugal. More on Niccolò De Simone
Gaspare Traversi (1722-1770)
The murder of Amnon at Absalom's banquet, c. 1752
Oil on canvas
Height: 148 cm (58.2 in); Width: 205 cm (80.7 in)
Monastery of St. Paul Outside the Walls, Rome, Italy
Gaspare Traversi (c. 1722 – 1 November 1770) was an Italian Rococo painter best known for his genre works. Active mostly in his native city of Naples, he also painted throughout Italy, including a stay in Parma.
He trained under Francesco Solimena. He was a contemporary of other Solimena pupils, Giuseppe Bonito (1707–1789), also a genre painter, and Francesco de Mura (1696–1784). He was active mainly between 1732 and 1769.
Traversi can be described as a Neapolitan Hogarth, Steen or Longhi, working in a Caravaggist style. Traversi's satirical paintings typically depict animated groups of bourgeois protagonists that seem compressed physically into an indoor pictorial space that can barely contain them. Even his religious canvases have foreshortened crowding. Facial expressions are lively and varied; some of the characters, often children, stare at the viewer. Women are often situated in either a foolish or ironic situation, or engage in a pulchritudinous talent, while men leer or participate with other intentions in mind. One could view these as elaborations of moralistic tales, such as Caravaggio's The Fortune Teller, a topic which Traversi also depicted, but Traversi's living rooms are more densely populated, and the emotions, as well as the situations, teeter awkwardly with imbalance. More on Gaspare Traversi
MATTIAS STOMER
THE FEAST OF ABSALOM
Oil on canvas
51⅛ x 67 ⅞ in. (129.9 x 172.4 cm)
Private collection
Matthias Stom or Matthias Stomer (c. 1600 – after 1652) was a Dutch golden age painter considered one of the masters of Utrecht Caravaggism. Stom spent most of his artistic life in Italy, and 200 of his works have been preserved. It is conjectured that Stom was born at Amersfoort or in the Utrecht area, but many details of his life are vague. An early mention of Stom was around 1630, when he lived in the same location as Paulus Bor had lived a few years earlier. He was a pupil of Gerard van Honthorst in Rome after 1615.
He remained in Rome until 1632, after which he traveled to Naples, where he stayed until 1640. He then moved to Palermo, and delivered paintings for churches in Caccamo and Monreale. He sold three paintings to Antonio Ruffo, duke of Messina. It is speculated that he died in Sicily, or alternatively in Northern Italy, where in 1652 he painted an altar piece for the church in Chiuduno. More on Matthias Stom
French School, circa 1800
Death of Amnon
Oil on canvas, unlined
24.6 x 31.8 cm.; 9 3/4 x 12 5/8 in.
Private collection
The most significant professional art societies in Europe in the nineteenth century were the Royal Academies of Art in France and England, established in 1648 and 1768 respectively. They ran schools of instruction, held annual or semi-annual exhibitions, and provided venues where artists could display their work and cultivate critical notice. Here, young artists could find themselves promoted to prominence through patronage connections and collectively seek protection of artistic interests. More on The Salon and the Royal Academy in the Nineteenth Century
As they were on the way back to Jerusalem, this report reached David: “Absalom has killed all the king’s sons; not one is left alive!” The king got up, tore his robe, and threw himself on the ground. His advisers also tore their clothes in horror and sorrow.
James Tissot (1836–1902)
David Mourns His Son Amnon, c. 1896-1902
Gouache on board
The Jewish Museum, New York.
Jacques Joseph Tissot (15 October 1836 – 8 August 1902), Anglicized as James Tissot, was a French painter and illustrator. He was a successful painter of Paris society before moving to London in 1871. He became famous as a genre painter of fashionably dressed women shown in various scenes of everyday life. He also painted scenes and characters from the Bible. More on James Tissot
But just then Jonadab, the son of David’s brother Shimea, arrived and said, “No, don’t believe that all the king’s sons have been killed! It was only Amnon! Absalom has been plotting this ever since Amnon raped his sister Tamar. No, my lord the king, your sons aren’t all dead! It was only Amnon.” Meanwhile Absalom escaped.
Then the watchman on the Jerusalem wall saw a great crowd coming down the hill on the road from the west. He ran to tell the king, “I see a crowd of people coming from the Horonaim road along the side of the hill.”
35 “Look!” Jonadab told the king. “There they are now! The king’s sons are coming, just as I said.”
They soon arrived, weeping and sobbing, and the king and all his servants wept bitterly with them. And David mourned many days for his son Amnon.
Absalom fled to his grandfather, Talmai son of Ammihud, the king of Geshur. He stayed there in Geshur for three years. And King David, now reconciled to Amnon’s death, longed to be reunited with his son Absalom. More on The Rape Of Tamara
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