Joshua Defeating Amalek
Artist/Maker
Material / Technique
Dimensionsh x w: Mått 45 x 65 cm h x w x d: Ram 63 x 83 x 4 cm
Inventory numberNM 381
Other titlesTitle (sv): Josua besegrar Amalek Title (en): Joshua Defeating Amalek
DescriptionCatalogue raisonné: Description in Flemish paintings C. 1600-C. 1800 III, Nationalmuseum, Stockholm, 2010, cat.no. 55: Technical notes: The support consists of two radially sawn boards of oak joined horizontally along the grain. All four sides have been bevelled slightly. The left, top and bottom edges have been cut. There is an inscription on the verso in black paint (PE LS in ligature). Dendrochronological examination has determined a felling date for the tree between c.1600 and 1610. The wood originated from the Baltic region. Under the assumption of a median of 15 sapwood rings and a minimum of 2 years for seasoning of the wood, the most plausible date for use of the panel would be 1608 or later. The preparation consists of thickly and evenly applied white ground, probably chalk, that covers the support completely (raking light visualises traces of tool marks in the support). The ground is from edge to edge covered by a light brownish semi-transparent imprimatura. Infrared examination reveals an underdrawing executed in a dry medium and a dark underdrawing delineating the contours of the figures, horses and tents, with occasional small changes between the drawing and painting stages. This is seen in the drapery and the right foot of the running Oriental at the lower right, initially drawn in a fine line in a slightly different shape and position. The paint layer is partly opaque and consists of several thin layers of glazes with some layers of semi-transparent paint. The imprimatura is partly visible in the shaded areas, where it forms part of the rendering of the shadows. The costly fabrics are depicted in mixtures of different pigments and lakes applied from dark to light with some glazes, which now have faded. Gilt details have been added to the garments to emphasise the opulence of the fabrics and ornaments on the weapons by “shell gold”. Gold has been used as a underpaint to add resonance to a thinly applied paint layer for the armour of the knight in the left of the picture with a cloak that is now a faded pink. Violet formed by mixing blue pigment with red madder is present in the armour of a number of the figures but has now discoloured and is in some cases brownish. In the green background on the left of the painting there is an area with several imprints of a finger. Diagonal lines probably made with a hard point to form grooves that served as guidelines for the composition. Reserves were left for the trees in the middle ground and to the far right in the painting in the background as well as for the figures. The paint layer is otherwise intact with few retouches. Originally the painting had a rich palette, mainly in clear mixtures of blue, green and red pigments and with glazes including madder and verdigris. The colour mixtures applied in thin layers have discoloured or faded. White paint layers have saponified and become transparent. The painting underwent conservation treatment in 1935, 1957 and 1966. Provenance: Possibly war booty Prague; Karlberg, no. 161; KM 1816, no. 174 (as Hendrik de Clerck). exhibited: Stockholm 1966, no. 1282. Bibliography: Sander IV, p. 84, no. 174 (as Hendrik de Clerck); Göthe 1887, p. 52 (as H. de Clerck); Göthe 1893, p. 64 (as Hendrik de Clerck); Granberg 1902, pp. 56, 112, no. 114; NM Cat. 1958, p. 226 (as anonymous Flemish master); Legrand 1963, pp. 221–22; NM Cat. 1990, p. 69. This motif is taken from the Bible (Exodus 17:8–16, the Battle with Amalek). After the people of Israel had fled from Egypt (in the 12th century B.C.) and arrived at a place called Rephidim they were attacked by the Amalekites (an ancient nomadic tribe in the southern half of the Sinai desert, south of the Dead Sea, who waged continual war against Israel). Moses then decided that Joshua (the son of Nun of the tribe of Ephraim and Moses’ companion and deputy) was to select soldiers and fight Amalek while he stood on the top of a hill and prayed. Moses was accompanied by Aaron (his brother and senior by three years) and Hur. Moses lifted up his arms. When he did so the Israelites prevailed, but when he lowered them they began to lose. After a time Moses became tired and sat on a stone while Aaron and Hur supported his arms. In this way Moses could keep his arms raised to heaven until sunset and Joshua could defeat Amalek. Afterwards God told Moses to write this in his book as a memorial. God intended to extirpate Amalek from the face of the earth. “And Moses built an altar and called the name of it Jehovah is my banner. For he said ‘Indeed I lift up my hand to the throne of the Lord and affirm that he will have war with Amalek from generation to genera- tion’”. In the foreground we can see knights in battle: King Amalek has fallen from his horse and is lying wounded while an enemy raises his sword above him and a horseman his lance. In the foreground a wounded Amalekite flees along the road on the right dressed in a turban and a green mantle, a mounted archer follows at a distance. On a height to the left in the central ground the seated Moses can be seen at prayer. In the background there is a mountain pass. A painting by Casteels with the same motif was sold at Sotheby’s in London in 1978.1 GCB 1 See J. de Maere and M. Wabbes, Illustrated Dictionary of 17th century Flemish Painters, II, p. 224: Pauwel Casteels, “The Battle between Israelites and Amalekites”, oil on canvas, 135x203, London, Sotheby’s, 12 July 1978, lot 241.[End]
Motif categoryReligion/Mythology
Collection
TechniquePainting
Object category
Keyword