Art Archive

← Raphael (Raffaello Sanzio or Santi) Raphael (Raffaello Sanzio or Santi) — The Anointing of David by Samuel

The Anointing of David by Samuel

Original title: The Annointing of David by Samuel

Artist
Raphael (Raffaello Sanzio or Santi)
Date
ca. 1525–40
Medium
Maiolica (tin-glazed earthenware), lustered
Dimensions
Overall (confirmed): 2 3/8 × 10 3/8 in. (6 × 26.4 cm)
Credit line
Gift of V. Everit Macy, in memory of his wife, Edith Carpenter Macy, 1927

kurzbeschreibung

A round maiolica dish painted with the biblical story of David's anointing by the prophet Samuel comes from the workshop of Raphael (Raffaello Sanzio) and dates to about 1525–40. Made in the Italian majolica technique with lustre embellishment, the piece measures roughly 6 × 26.4 cm. Religious narrative and decorative display for courtly circles meet here.

Description

David stands at the centre, dressed in a blue-brown robe, sword and crown. From the left Samuel approaches in yellow with green accents and places the crown on his head. The action takes place on a raised platform supported by columns; behind it a landscape with mountains opens under a sky from which sun rays emerge. Other figures in plain-coloured garments populate the background. The rim carries a golden ornament emphasised by the lustre technique.

Context

Around 1525–40 maiolica enjoyed high esteem in Italian workshops such as Urbino or Casteldurante. The dish is attributed to Raphael, although he had already died in 1520; it is presumably an execution after his design by pupils or followers. Such pieces often served representative purposes at festivities or as collector's items. Biblical scenes were among the common motifs of Renaissance maiolica.

Impact

Lively colours and the detailed drawing of the figures create a narrative density that draws the viewer directly into the biblical event. The clear layout with the central group of figures and the golden rim ornament gives the dish a precious, almost ceremonial presence.

Technique

Executed in maiolica, a process using tin glaze on earthenware that produces a white, opaque surface. The colours were applied to the glaze and then fired; the lustre technique brought out a metallic shimmer, especially on the rim. A second firing at lower temperature in a reducing atmosphere was required.

AI-generated description text

Source: Metropolitan Museum of Art · Public Domain (CC0 1.0)