Samson’s Riddle (1638 CE)

Samson’s Riddle, painted by Rembrandt van Rijn around 1638, captures a pivotal moment from the biblical Book of Judges, where Samson, the Israelite judge endowed with superhuman strength, poses his enigmatic riddle to 30 Philistine guests during his week-long wedding feast. The painting is a vivid tableau of tension and drama, with Samson at the center, leaning forward with an intense expression as he presents his riddle: “Out of the eater came something to eat, out of the strong came something sweet.” The composition, illuminated by Rembrandt’s masterful play with light and darkness, draws the viewer into a scene fraught with anticipation, betrayal, and impending conflict, offering a glimpse into the psychological complexity of its characters.

Created during Rembrandt’s “golden period” in Amsterdam, “Samson’s Riddle” reflects the artist’s peak in the late 1630s, a time of financial prosperity and artistic innovation. Born in Leiden in 1606, Rembrandt Harmenszoon van Rijn was a leading figure of the Dutch Golden Age, renowned for his portraits, biblical scenes, and psychological depth. By 1638, he was established in Amsterdam, married to Saskia van Uylenburgh, and living in a fashionable apartment by the Amstel River. The painting draws from Judges 14, where Samson, a Nazirite dedicated to God, marries a Philistine woman from Timna, setting the stage for a confrontation with the oppressors of Israel.

One intriguing aspect of “Samson’s Riddle” is Rembrandt’s response to Leonardo da Vinci’s The Last Supper. Familiar with a copy of Leonardo’s work, Rembrandt challenged its symmetrical composition by crafting an asymmetrical, dynamic scene that pulses with movement and emotional intensity. Another notable detail is the use of Jewish neighbors from Amsterdam’s Vlooienburg quarter as models for Old Testament figures, reflecting the city’s vibrant Jewish community. The painting also carries personal resonance: some scholars suggest the isolated bride, depicted with striking vulnerability, may echo Rembrandt’s reflections on his marriage to Saskia, who was pregnant with their son Titus during this period.

“Samson’s Riddle” is a prime example of a Dutch Golden Age “history painting,” a genre valued for its moral and dramatic narratives. The work explores themes of betrayal, isolation, and human weakness, with the bride emerging as a poignant figure—nameless in the Bible yet central in Rembrandt’s composition. Her illuminated presence amid the chaotic feast may symbolize the cost of betrayal, as she later reveals the riddle’s answer under pressure, leading to Samson’s violent retaliation. The painting also reflects Rembrandt’s fascination with biblical stories as vehicles for psychological and moral exploration, a hallmark of his Samson cycle, which also includes works like Samson Threatening His Father-in-Law (1635). Its asymmetrical composition and chiaroscuro technique align it with Baroque art, emphasizing drama and emotional depth over classical harmony.

The painting is executed in oil on canvas, showcasing Rembrandt’s signature chiaroscuro technique, where stark contrasts between light and shadow create volume and tension. The central table, laden with food and wine, is bathed in light, highlighting the bride and Samson, while heavy draperies and shadows in the background enhance the dramatic atmosphere. The canvas measures approximately 126 cm × 175 cm (49.6 inches × 68.9 inches). The Baroque-style composition, with its lively and asymmetrical arrangement of figures, creates a sense of movement and depth, drawing the viewer into the narrative.

After its creation around 1638, “Samson’s Riddle” was likely commissioned or sold to a private collector before entering the royal collection of August II of Poland (Friedrich August I of Saxony). It was recorded in the Dresden inventory between 1722 and 1728 and has since remained in the Gemäldegalerie Alte Meister in Dresden, Germany, where it continues to be a highlight of the museum’s collection.