{'ObjectID' : '2115', 'ObjectCode' : 'N-1145-00', 'ObjectNumber' : 'NG1145', 'ObjectDateBegin' : '1498-01-01', 'ObjectDateEnd' : '1502-12-31', 'ObjectDisplayDate' : 'about 1500', 'ObjectDimensions' : '47 x 36.8 cm', 'ObjectMedium' : 'Glue size on linen', 'ObjectAlphaSort' : 'Mantegna, Andrea', 'ObjectAuthor' : 'Andrea Mantegna, about 1430/1 - 1506', 'ObjectTitle' : 'Samson and Delilah', 'ObjectShortTitle' : 'Samson and Delilah', 'ObjectCreditLine' : 'Bought, 1883', 'ObjectString' : 'NG1145: Andrea Mantegna, about 1430/1 - 1506, Samson and Delilah, about 1500, Glue size on linen, (47 x 36.8 cm), Bought, 1883.', 'ObjectLocation' : 'Room 61', 'ObjectPrivateLocation' : 'Gallery 61', 'ObjectPublicLocation' : 'Room 61', 'ObjectSchool' : 'Italian (North)', 'ObjectCurator' : 'Luke Syson', 'ObjectDescription' : 'Inscribed on the tree trunk: FOEMINA / DIABOLO TRIBUS / ASSIBUS EST / MALA PEIOR (A woman when bad is three pence worse than the devil(?)).
Delilah cuts Samson\'s hair, the source of his supernatural strength, as he sleeps in her lap. Old Testament (Judges 16: 17-20). The story was sometimes interpreted as a warning against women, as suggested by the inscription here. Mantegna has departed from the biblical story in a number of ways: normally a man cuts Samson\'s hair and Philistines are hiding nearby, waiting to blind him. The vine implies that Samson\'s slumber was induced by wine.
Mantegna painted several small pictures with this format, colour range and theme (e.g. Judith and Holofernes, Dublin, National Gallery, which in 1992 was again suggested to have been the companion to NG 1145). Though they may be related, it has not been proved that these paintings ever formed one series.
Perhaps Buonfiglioli collection, Bologna, until 1728; bought Sunderland Sale, 1883.
Davies 1961, pp. 334-5
Lightbown 1986, p. 449
Christiansen 1992, pp. 397, 405', 'ObjectStatusID' : '1', 'PublicAccess' : '1', 'GroupNumber' : '', 'GroupTitle' : '', 'GroupArtist' : '', 'GroupDate' : '', 'GroupParts' : '', 'ImageID' : '2046', 'ImageFile' : 'N-1145-00-000016-WZ-PYR.tif', 'ImageCode' : 'N-1145-00-000016-WZ', 'ImagePath' : '/pics/tmp/websiteimages/Website_Collection_Online/Web Zoom Images/WZ web NG Fronts/', 'ImageLevels' : '6', 'ImageXsize' : '4697', 'ImageYsize' : '6000', 'FileGroup_ID' : '14', 'impos' : '1470'} /* Array ( [0] => 
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SELECT * FROM Object, Image WHERE Object.ObjectID = Image.ObjectID AND ImageID = '2046'

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1470 --> 2046 N-1145-00 Andrea Mantegna, about 1430/1 - 1506
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    [ObjectID] => 2115
    [ObjectCode] => N-1145-00
    [ObjectNumber] => NG1145
    [ObjectDateBegin] => 1498-01-01
    [ObjectDateEnd] => 1502-12-31
    [ObjectDisplayDate] => about 1500
    [ObjectDimensions] => 47 x 36.8 cm
    [ObjectMedium] => Glue size on linen
    [ObjectAlphaSort] => Mantegna, Andrea
    [ObjectAuthor] => Andrea Mantegna, about 1430/1 - 1506
    [ObjectTitle] => Samson and Delilah
    [ObjectShortTitle] => Samson and Delilah
    [ObjectCreditLine] => Bought, 1883
    [ObjectString] => NG1145: Andrea Mantegna, about 1430/1 - 1506, Samson and Delilah, about 1500, Glue size on linen, (47 x 36.8 cm), Bought, 1883.
    [ObjectLocation] => Room 61
    [ObjectPrivateLocation] => Gallery 61
    [ObjectPublicLocation] => Room 61
    [ObjectSchool] => Italian (North)
    [ObjectCurator] => Luke Syson
    [ObjectDescription] => Inscribed on the tree trunk: FOEMINA / DIABOLO TRIBUS / ASSIBUS EST / MALA PEIOR (A woman when bad is three pence worse than the devil(?)).
Delilah cuts Samson\'s hair, the source of his supernatural strength, as he sleeps in her lap. Old Testament (Judges 16: 17-20). The story was sometimes interpreted as a warning against women, as suggested by the inscription here. Mantegna has departed from the biblical story in a number of ways: normally a man cuts Samson\'s hair and Philistines are hiding nearby, waiting to blind him. The vine implies that Samson\'s slumber was induced by wine.
Mantegna painted several small pictures with this format, colour range and theme (e.g. Judith and Holofernes, Dublin, National Gallery, which in 1992 was again suggested to have been the companion to NG 1145). Though they may be related, it has not been proved that these paintings ever formed one series.
Perhaps Buonfiglioli collection, Bologna, until 1728; bought Sunderland Sale, 1883.
Davies 1961, pp. 334-5
Lightbown 1986, p. 449
Christiansen 1992, pp. 397, 405
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    [ImageID] => 2046
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