Completed in 1609 and held in London’s National Gallery, this large canvas was produced for Rubens’ friend and patron, Nicolaas Rockox, a burgomaster of Antwerp, who is reported to have installed the painting in the place of honour in his art gallery, above his fireplace. The source material for the piece is John Milton’s drama Samson Agonistes, as well as Handel’s oratorio based on the Samson story, providing ample scope for the artist to demonstrate a full range of sensual and heroic contours.
Samson is depicted as having fallen asleep on Delilah’s knees, after finally giving up the secret of his strength. An old procuress aids Delilah with a candle, in keeping with the Bible’s suggestion that Delilah was a prostitute. She signals for a barber to cut Samson’s hair, therefore weakening the hero, whilst outside a group of Philistine soldiers can be glimpsed, preparing to enter and seize the sleeping hero. Rubens’ use of chiaroscuro demonstrates his familiarity with the works of Caravaggio, whose ground-breaking art he had encountered during his visit to Rome. Rubens utilises multiple light sources to create an imposing display of flesh, delineating the drama with great dexterity.
Delilah is presented ambiguously, at first appearing only as a professional prostitute, aided by her procuress and seemingly adept at such subterfuge. However, as her hand tenderly rests on Samson’s back, there is the suggestion of her deep feeling for the man she is betraying. Her unreadable expression is juxtaposed with the background sculpture of Venus and a blindfolded Cupid, hinting that love is only silenced by requirement.