Frans Francken II

FRANS FRANCKEN II (Antwerp, 1581 - 1642).
"The Meeting of David and Abigail".
Oil on panel.
Measurements: 58 x 79 cm; 75 x 95 cm (frame).

Splendid and characteristic work of Frans Francken II, a central painter of the Antwerp school who excelled in the transition period between late Mannerism and early Baroque.

The painting illustrates a dramatic scene from the Old Testament: David, fleeing from King Saul, is insulted by a rich man named Nabal, who refused to give supplies to David and his men. Enraged, David vows to kill Nabal and all the men of his household. Nabal's wife Abigail, described as "clever and beautiful," acts quickly to prevent the massacre.

The painting captures the climax of Abigail's intervention: we see David as the central figure of this group, recognizable by his showy red cloak and Roman-style armor (a common device for ennobling biblical heroes). He has halted his army of soldiers, spearmen and horsemen, and looks with surprise at the woman who has interrupted his march.

Abigail is the central figure of the second group. She has prostrated herself on her knees before David in a gesture of supplication. Behind her, her servants unload from donkeys (barely visible in the tumult on the right) the abundant provisions (bread, wine, sheep) she has brought as a gift of peace. The large golden jar in the foreground symbolizes the richness of this offering.

The drama of the scene lies in this tense encounter: David's military power and anger are pitted against Abigail's diplomatic intelligence and humility. Her eloquent speech calms David, who blesses her for preventing him from shedding blood.

Francken specialized in "cabinet paintings" for private collectors. These works were characterized by their extreme detail and variegated composition. As usual for the author, Francken fills almost the entire canvas with figures, creating a vibrant, bustling scene. The composition is clearly divided into two groups that converge in the center.

Mannerist-influenced, the figures are slender, with elegant and somewhat theatrical poses (such as David's contrapposto pose). Francken uses a palette of rich, glazed colors (David's red, Abigail's blue and green), which stand out against the ochre and brown tones of the landscape.

The landscape acts as a dramatic backdrop that serves to give depth. The rocky mountains and the castle on the hill are typical elements of Flemish landscape painting of the period, creating an atmosphere of "ancient history".

Frans Francken II, the most fruitful of his family of painters, trained with his father, Frans Francken I, and in 1605 joined the Painters' Guild of St. Luke in Antwerp, thus beginning a career that would last until 1640, in which he specialized in cabinet painting. His contribution to this genre was of great importance, influencing artists such as Teniers. His style is based on that of Jan Brueghel de Velours, although it also shows strong influences of his father and his uncle, Hieronimus Francken. In his early works we can appreciate debts to Mannerism and 16th century painting, both in the structure of the compositions and in the rhythm and expression of his figures. They also include evident references to the work of Italian artists such as Raphael, Veronese and Zuccaro. Likewise, the use of prints by Dürer and Lucas de Leyden for some of his figures has been demonstrated. In addition to cabinet painting, Francken painted mythological and biblical themes, some altarpieces and, in collaboration with other artists, painted the figures in landscapes or interior scenes of Tobias Verhaecht, Joos de Momper II, Pieter Neefs or Paul Vredeman de Vries, among others. He is currently represented in the most important art galleries in the world, such as the Prado Museum, the Louvre, the Royal Museum of Fine Arts in Antwerp, the Kunshistorisches Museum in Vienna, the Hermitage in St. Petersburg and the Royal Collection in London, among many others.