On one of my trips to the Detroit Institute of Arts this past summer, I decided to do a formal/compositional analysis on a painting that compositionally intrigued me. I passed the Flemish Baroque painting The Meeting of David and Abigail 1625-1628. Here Peter Paul Rubens Illustrates the biblical story of Abigail in the very moment she needs David. The style of the work demonstrates the Flemish Baroque period through its rejection of naturalism, dynamic composition, and dramatic subject matter. Together his use of these characteristics communicates that a woman’s beauty and grace can change the mind of even the toughest military bound hero.
In formal analysis of the work, the composition shows a change from earlier periods. Instead, the eye is drawn from the foreground to the background on a curved diagonal typical of the Baroque period. The focal point of the painting is in the geometric center, where Abigail looks up in awe at David as he leans down reaching toward her. They are surrounded by figures all drawing attention towards the focal point. There are trees in the middle ground on the left side of the painting leading the eye toward the background where Rubens uses atmospheric perspective directly behind the focal point. The composition has two sides. On the left, Abigail is surrounded by her supporters. On the right, David leads a group of cavalry soldiers. “Revelled in the opportunity to present contrasts: on one side a cluster of pretty women in shimmering silks... on the other side a display of soldiery gleaming in plate armour and male, their white plumes and the wind-blown hair of David's grey charger being both airy and incandescent effect, the officers cloaks rich and heavy with saturated colours.” Typical of the baroque period, several figures and animals extend beyond the edge of the painting.
In person, Ruben’s Technique shows extraordinary detail. Up close, brushstrokes are evident, and colors are layered. Rubens’ textures contribute to the meaning of the painting. On the left side, the women’s clothing glimmers and their skin is illuminated with white and light colors; in contrast, the men appear more rugged, but the metallic details of their uniforms shine. In this way, the women appear more fragile and emotional, while the men appear determined. There is a dramatic stereotypical interpretation of the feminine and masculine personas.
In content analysis, The Meeting of David and Abigail 1625-1628, is an illustration of a biblical story. Before becoming king, David was a great military leader. Abigail, wife of Nabal, seeks to smooth over a conflict between her husband and David by meeting David and his men as he approaches to confront her husband. Abigail throws herself at his mercy, kneeling as she shows him the food that she has brought. She pleads with him for the lives of people in her household. David’s men look ready for a fight except for two of the men in the back who look at each other in confusion as if they are wondering why David is stopping for this woman. After the moment shown in this painting, “Abigail, but without her husband’s knowledge, much less consent, provides sustenance for David and she, following Nabal’s death, will be heard of again,
as she marries David and bears his child.” Abigail eventually becomes David’s wife. This illustrates that they may have actually fallen in love at first sight, displaying the effects of Abigail’s grace and beauty.
The religious, economic, and cultural context of the region influenced the style of
Rubens’ The Meeting of Abigail and David. After 1585, the Netherlands was divided into north and south regions. The south held Spanish and Catholic influence, while the north remained Protestant and Calvinist. “The Southern Netherlands lay at the crossroads of the great overland communication routes to France, Germany, and Italy... Antwerp remained an important financial market.” This political and religious separation impacted the styles of art created in the region. As a result, Flanders saw the production of luxury paintings and art. In contrast, art in the north has a more serious and somber style reflecting the religious climate. The Catholic influence continued to receive support from the Habsburg monarchy during the counter reformation. Rubens’ choice to illustrate a biblical story is consistent with the Roman Catholic religious interpretation of the Bible. Rubens himself had a wealthy upbringing and became even
more so with his success as an artist. He painted and socialized with the aristocracy in Flanders and in Italy. It's clear that the Italian Baroque style influenced his work. In The Meeting of David and Abigail 1625-1628, The dramatic scene and attention to rich detail exemplifies his appreciation for grandeur and rejection of naturalism.
In The Meeting of David and Abigail 1625-1628, Peter Paul Rubens demonstrates the Flemish Baroque period through its rejection of naturalism, dynamic composition, and dramatic subject matter. Using these characteristics, he illustrates a single dramatic moment of love at first sight.
