Sanson and Dalila - Théodore GÉRCAULT (1791-1824)

Théodore GÉRCAULT (1791-1824),
Sanson et Dalila
oil on paper laid on canvas,
18 x 24 cm

Provenance :

- Collection of René Longa (1878- ?).
- Collection of Pierre Dubaut (1886-1968), Paris.
- Anonyme sale, palais Galliéra, Paris, 20 juin 1966, lot 237 (as by « Théodore Gericault »).
- Collection of Walter Goetz (1911-1995) ; then by descendance

Bibliography :

- A. del Guercio, Géricault, Milan, 1963, p. 139, reproduit en noir et blanc fig. 1.
- P. Grunchec, Tout l’œuvre peint de Gericault, Paris-Milan, 1978, p. 139, n°A 1072, reproduit en noir et blanc p. 140.
- G. Bazin, Théodore Géricault. Étude critique, documents et catalogue raisonné, Paris, 1987, II, p. 319, p. 504, n°528, p. 504, reproduit en noir et blanc p. 504 (erronément repris sous le n°527, reproduit en noir et blanc p. 504).
- P. Grunchec, Tout l’œuvre peint de Gericault, Paris, 1991, p. 139, n°A 1072

The myth of Samson and Delilah, set in the 12th century B.C., is described in the Old Testament (Book of Judges). This biblical episode is the subject of our original work by Théodore Géricault (1791-1824). Samson is a Nazir, i.e. a "chosen one of God" who is obliged to abstain from cutting his hair and drinking wine. His status enabled him to hold the position of "judge of Israel" for twenty years, giving him numerous political and military prerogatives to guide the Hebrew people in their conquest of the land of Canaan, formerly inhabited by the Philistines.
Prior to the scene in our work, Samson was seduced by the beautiful Philistine Delilah, who tried to extract from him the secret of his strength. After three unsuccessful attempts, Samson reveals that his immeasurable power comes from his seven braids. Delilah takes advantage of her lover's sleep to cut them off. The scene in our painting takes place between this crucial, symbolic moment and the intervention of the Philistines, allies of Delilah, who gouge out his eyes and throw him into prison.
Our work illustrates Samson's final moment of weakness, when Delilah, dominating the scene, places her hand on his shoulder as a sign of superiority. The artist highlights the woman's betrayal with bright colors (yellow and blue), contrasting with the dark palette reserved for the rest of the scene. The Philistines surrounding the scene accentuate Samson's sense of weakness and betrayal. Théodore Géricault's spontaneous, frenetic brushstrokes are evident in this swiftly executed work. This work stands out in the artist's body of work, which consists mainly of portraits and depictions of horses.