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Description. The sculpture shows Samson wielding the jawbone of an ass in order to slay one of the Philistines who have taunted him. It is a good example of the multiple viewpoints seen in Giambologna's work; the spiralling movement of the bodies means that there is no main view.
- c. 1562
- Victoria and Albert Museum, London
Samson Slaying the Philistine certainly embodies three of Michelangelo's aesthetic ideals: a pyramidal or conical volume, a flame-like contour to suggest movement, and three figures unified in action. But the piece is also distinctively Giambologna's, offering a clear example of the multiple viewpoints characteristic of his work: the spiralling ...
Samson Kills 1,000 Philistines. 14 When Samson arrived at Lehi, the Philistines came shouting to meet him. Then the Spirit of the Lord rushed upon him, so that the ropes that bound him were like flax that’s been burned by fire, and his bonds dissolved.
And she said to him, “The Philistines are upon you, Samson!” But he snapped the bowstrings, as a thread of flax snaps when it touches the fire. So the secret of his strength was not known. 10 Then Delilah said to Samson, “Behold, you have mocked me and told me lies.
Old Testament Judges 15:14-19. Summary. Samson is seen here wielding the jawbone of an ass in order to slay one of the Philistines who have taunted him. This is the earliest of the great marble groups by Giovanni Bologna (called Giambologna), and the only substantial work by the artist to have left Italy.
- Carved marbleMarbleCarved
- Samson Slaying a Philistine (generic title)
- Figure group
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May 17, 2024 · Article. 28/04/2023. Did Samson Really Destroy the Philistine Temple With His Bare Hands? Johann Georg Platzer (1704-1761), “The Death of Samson” (photo: Public Domain) ‘Then Samson bowed with all his might,’ says the Bible ‘and the house fell upon the lords and upon all the people that were in it.’. Dave Armstrong, April 28, 2023.
In Giambologna. His Samson and a Philistine (1567; Victoria and Albert Museum, London) displays violence and anguish in a masterfully contrived composition that recalls such complex Hellenistic pieces as the Laocoön. Rape of a Sabine (1579–83; Loggia dei Lanzi, Florence), while uncluttered and monumental, is even more complex.… Read More.
