Rembrandt Harmenszoon Van Rijn is a Dutch artist whose paintings are distinguished by the versatility of the selected plots and the techniques used. Of particular interest to the artist was biblical stories, which corresponded to the piety of the society in which he lived, and allowed him to continue to experiment and look for new approaches to classical subjects. As a result, many of these works have become the subject of fierce debate and debate.
One of these canvases is known as “David and Uriah” or “Haman learns his fate,” the painting dates from 1665. The plot is based on the tragic story of betrayal and loss. King David, having desired Bathsheba, the wife of his warrior Uriah, seeks to eliminate his rival. He decides to send Uriah to the site of the most bloody and fierce battles. The king invites the doomed to never return home to the lawful spouse of Bathsheba, to hand him a letter with a terrible sentence.
Occupying a large part of the picture and highlighted in the foreground, the character - the brave warrior Uriah - embodies mental confusion and tension. The man’s face is motionless and pale, his eyes are closed.
The figure is shifted to the left, and the pose itself creates the feeling that the unfortunate person is about to fall under the weight of the misfortune that has befallen him. Robes embroidered with gold threads and adorned with jewelery fetter and crush, and rich burgundy-red shades of fabric seem to indicate the bloody end of their owner. The arrangement of the hands enhances the feeling of shakiness and loss of character. The right hand is pressed to the chest, trying to relieve the pain of the heart or, perhaps, pressing the ill-fated letter with the death sentence. With his left hand, Uriya holds on to his belt, trying to maintain his composure even at the moment of a collision with despair and loneliness enveloping his soul.
The figure of David on the right is made by Rembrandt in cold tones, thereby enhancing the opposition to his fiery bright tones of the clothes of Uriah. The king’s gaze is set aside, his head is bowed, allowing the thought of repentance due to his atrocity.
The seal of the highest sorrow and irregularity of what was happening froze on the face of the old man on the right. This is a scribe who has become an involuntary accomplice in a crime. According to one of the many versions, art historians believe that this is the prophet Nathan, who wanted to try to reason with David and prevent the death of Uriah.
Pimenov Painting Dispute