David,
king of Israel, psalmist, and ancestor of Jesus, lived a well-documented life.
The Bible records events in his life from his teenage years to his old age. Yet
his story is not one of pure devotion and service to the Lord. Scripture
records many instances of David’s deep sin and extensive failings. Yet God
calls David a man after God’s own heart. This collection of paintings examining
David’s life show both how stunning this declaration by God is, as well as God’s
grace and intervention in his life.
This
is the story of David’s life, looking at major events such as his slaying of
Goliath, his escape from Saul, and his children’s wicked and scandalous behavior.
It shows his successes and major failings, as well as his reaction to those
failings. It provokes wonder at how God could give him such an important place
in the history of salvation. The final painting by Lorenzo Monaco depicts him
reflecting on his life, perhaps composing a psalm. This curation gives a
glimpse into more than just David’s life. Christians recognize their own victories
as well as their damning sins. Like David, we need to look back at our lives,
reflecting upon the undeserved grace of God.
David
with the Head of Goliath, Gian Lorenzo Bernini, 1625, oil on
Canvas, National Gallery of Ancient Art, Rome.
Bernini
depicts David in his youth, just after his victory over Goliath. The coarse
face of Goliath’s severed head contrasts heavily with David’s smooth, hairless
face and body. The dramatic light coming from over his shoulder hints to us a compelling
future in store for this youngster; one wrought with joy and victory, but also
pain and loss. Rather than basking in his glorious rescue of the Israelites, he
seeks to comprehend what lies ahead; what God will do next.
Jonathan’s Token to
David, Frederic Leighton, 1868, oil on canvas, Minneapolis Institute of Art.
David
is not physically present in this scene, but he is the subject of this
painting. Jonathan looks off into the distance as he pulls an arrow out from
his quiver. He is preparing to send a message to David, his closest friend, who
must hide from Saul. The servant boy is clueless to the larger picture and the
significance of what is going on. Leighton chooses to depict Jonathan as
emotionless at this moment in the narrative, but we know that both he and David
will shed many tears when they must part ways forever.
David and Uriah, Rembrandt, 1665, oil on canvas,
Hermitage Museum, St. Petersburg.
At
this point in the narrative, David is king of Israel, and he has already
committed adultery with Bathsheba. Now, we see him sending Uriah to his death
in order to cover up his wickedness. David’s facial expression shows no remorse
and Uriah, with hand over heart seems to sense his imminent doom. The dark
color scheme contributes further to this sense of hopelessness. How can such a
sinner rule over Israel, God’s chosen people? How can God call David a man
after His own heart? Rembrandt does not give us the answers in this painting,
but we know this is not the end of the story.
Absalom and Tamar, Guercino, 1644-1666, oil on canvas,
Tatton Park, Cheshire.
Depicted
here is Absalom observing his sister Tamar’s pregnancy. She has been raped by
their brother Amnon, beginning a string of events that nearly lead to David
losing the throne. Her shame is evident in her downward glance. Absalom’s
pensive expression does not show much sympathy, but the hand on his sword shows
his desire for vengeance. Two years later, he would arrange the murder of Amnon.
Though David deeply loved his children, he did not raise them as unto the Lord.
His failure to react appropriately to this situation would lead to the loss of
more than one son. This shows yet another of David’s massive and consequential
failures, plaguing what was supposed to be the golden age of Israel.
David, Frederic Leighton, 1865, oil on
canvas, Cleveland Museum of Art.
Leighton
depicts an older, grief-stricken David in this painting. His crown, discarded
at his feet, as well as his closed fists, and outward gaze suggest a recent
loss, most likely that of his son Absalom. His dark robes indicate mourning and
his dark hair and beard stand out against the background of white clouds. The flaxen
sky in the upper right corner seems to be hopeful, perhaps the presence of God
even in this dark circumstance. David has no choice but to cry out to the Lord
in the midst of his suffering.
David, Lorenzo Monaco, 1408-1410, tempera
on wood, gold ground, Metropolitan Museum of Art, 65.14.4.
Lorenzo Monaco’s David is more stylized and he does not render him in the
middle of a major event from the biblical narrative. David seems to be deep in
reflection, unconcerned with his plain surroundings, focused on his past. Perhaps
he is composing a psalm, as the harp in his lap suggests. Monaco depicts him as
a holy man, worthy of a halo and gold-leaf background. How can David be acceptable
before God? We have already seen his many failings: murder, adultery, deceit. Maybe,
in this moment, in reflection on his life, he recognizes God’s grace, and how
undeserving he really his. Maybe the only proper response in the face of such
grace is a psalm of praise and adoration.
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