Artist: Guido Reni
Date: 1605
Location: Louvre Museum: Paris, France
Medium: Oil on Canvas
Dimensions: 220 x 145 cm
In this piece by Guido Reni we see David standing calmly beside the severed head of Goliath. His expression is one of satisfaction but also of disinterest. This painting was completed in 1605 during the Baroque Era but seems to lack a few key elements that Baroque paintings are known for. There is little motion, little emotion, and little drama. David is leaning on a pillar, motionless.
Goliath’s head sits with eyes closed as though he is just sleeping. He doesn’t appear to have been any kind of threat to David. He may have been depicted in this way to show how confident David was in the power of his God. In a sense, Goliath was not a threat to David. All along he knew that God was in control so there was no need to fear the giant. This piece is one of contemplation. David seems to be pondering the death of Goliath without being too attached. This makes David appear to be disinterested with killing and death. If there was too much interest it would tarnish his holy and Christ-like appearance. This may have been in response to the religious turmoil that was ensuing during the Baroque Era. Churches were striving to redefine faith, Catholics and Protestants were battling head on for religious rights. The pope called for art that clearly stated the power of God. David’s casual stance speaks greatly toward the power of God.
Chiaroscuro is used very subtly in this painting. David’s right shoulder is illuminated by a mysterious light. One can only assume that it is a Heavenly light because everything else is dark and only the spot where David is standing is lit up. The painting also uses warm colors which were common to Baroque Era paintings. Because of this the aesthetics of the painting are calming and echo the stance that David holds. David’s shoulder seems to be the focal point of the painting. It is the spot where the darkest dark and the lightest light meet. The light on his shoulder draws your eyes upward to see his almost expressionless face.
While this piece was completed around the same time as Carvaggio’s David with the Head of Goliath, it is very, very different. Carvaggio’s piece is one coursing with motion. Even though Goliath’s head is detached from his body it looks as though it could bite your fingers off at any moment. Unlike Reni’s painting it uses Tenebrism that Carvaggio is so famous for. Tenebrism is a type of chiaroscuro, but it is just more intense. Reni’s David seems to be contemplating the death of Goliath whereas Carvaggio’s David is scowling down at the dripping head that is extended towards onlookers. His expression seems to be one of pity and almost concern whereas Reni’s David leans casually, as detached as Goliath’s head.
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