Prophet and Future Queen of Israel

Prophet and Future Queen of Israel Commentary by Jennifer Moldenhauer Cite Share Show Bible Passage This painting by the Italian painter Guido Reni (1575–1642) depicts the encounter between David and Abigail and their entourages. However, while the biblical text is characterized by the direct speech and dialogue of the protagonists, the message in the painting is conveyed without any words appearing to be uttered. The viewer is made to feel involved in the events through the close proximity of the painting’s central figures (who are positioned close to the picture plane), but also through the direct eye contact of the maidservant on the right. Abigail, wrapped in a blue cloak and adorned with a wreath of flowers in her loose hair, is depicted sitting on the donkey in front of David. Her shoulders are drooping, her gaze is lowered, and her neck is vulnerably exposed. David, on the other hand, stands confrontationally armoured and armed in front of her. Two of his men in the background, also wearing armour, emphasize the explosive situation in which Abigail has completely defencelessly placed herself. It is remarkable, however, that several people’s gazes have turned in astonishment to the top right, towards a point outside the composition—seemingly into the light that makes Abigail’s face shine. Even in David’s case, it is not clear whether he is looking into Abigail’s face or whether his gaze has moved past her towards the sky and the source of the light. Reni paints a moment of spiritual realization: David understands that YHWH has sent this woman to show him the path of justice, and to direct him away from the exacting of retribution. Such Old Testament stories were interpreted typologically by Christians, from very early on, as precursors of the New Testament and as models for moral behaviour. Various pious women who played a role in God’s saving purposes, such as Esther, Judith, Rebecca, Ruth, Naomi, Sarah, Rachel, Leah, and Deborah, were identified as precursors of the Virgin Mary. The same applies to Abigail, who can be read as a model of humility and self-sacrifice. The connection between Abigail and the Virgin Mary is also enhanced by iconographic details, such as the white and blue colour of her clothing and the motif of riding on a donkey—a typical feature of depictions of Mary on the journey to Bethlehem or after the birth of Christ on the flight to Egypt. Last but not least, the donkey also anticipates what will be the second meeting between David and Abigail, in which Abigail will once again ride on a donkey to become the king’s wife. References Fischer, Irmtraud. 2003. ‘Abigajil: Weisheit und Prophetie in einer Person vereint’, in Auf den Spuren der schriftgelehrten Weisen. Festschrift für Johannes Marböck anlässlich seiner Emeritierung, Beihefte zur Zeitschrift für die alttestamentliche Wissenschaft 331, ed. by Irmtraud Fischer et al. (Berlin: De Gruyter), pp. 45–61 Schmeer, Julia. 2017. ‘Marias Verschwinden. Metaphorische Umgestaltung Marias in der Nürnberger Literatur des 15. und 16. Jahrhunderts und bei Luther’ (Unpublished PhD thesis, Ludwig-Maximilians-Universität München) Zucker, David J., and Moshe Reiss. 2016. ‘David’s Wives: Love, Power, and Lust’, Biblical Theology Bulletin, 46.2: 70–78