The painting is a representation of a biblical narrative featured in chapter 13 of the Book of Daniel according to the text as maintained by the Catholic and Orthodox churches, though not generally by Protestants. [2] This information was then later published by Mary D. Garrard in 1982 and most scholars have accepted this information as the correct date. Jane S. Webster is professor of religious studies at Barton College in Wilson, N.C., author of Ingesting Jesus: Eating and Drinking in the Gospel of John, and coeditor of Teaching the Bible in the Liberal Arts Classroom and Lady Parts. The elders spied on Susanna[2] and then demanded sexual favors from her,[2] which she refused. The seven-month trial produced evidence of sexual harassment and rape of the 19-year-old artist by her teacher, … 1 14 th century date QS:P,+1350-00-00T00:00:00Z/7; 2 15 th century date QS:P,+1450-00-00T00:00:00Z/7; [9] Joseph Heller's 1845 guidebook to the Schönborn collection at Pommersfelden included the first published attribution to Artemisia. Jacob Jordaens’ Susanna smiles as the elders energetically attempt to climb into the picture and into Susanna’s private space(s). Still others depict Susanna as the instigator of the event. Paintings of Susanna and the Elders tell a story about lascivious old men viewing and even moving to rape a beautiful woman, vulnerable and naked at … [4][2][5] Gentileschi‘s Susanna is both uncomfortable and more feminine than Carracci’s[2] Susanna, whose body appears more anatomically masculine yet is portrayed in a more eroticized position, as if receptive to the two elders' attention. The Jews had recourse to him often because he was the most respected of them all. Some capture Susanna still oblivious to her voyeurs. Two elderly men are shown spying on a young married woman named Susanna. 3 Her parents were righteous, and had trained their daughter according to the law of Moses. Jump to navigation Jump to search. their embrace. It seems likely that its increased popularity in the Eternal City was the direct result of Annibale Carracci and his school. This painting captures a moment from the story. Susanna and the Elders is housed in the Weißenstein Castle now, a magnificent Baroque palace, the pearl of Bavaria, in the same collection as Titian, Rubens, and Van Dyck. This was a popular scene to paint during the time of the Baroque period. Online: https://www.bibleodyssey.org:443/en/people/related-articles/art-of-susanna-and-the-elders, Jane S. Webster As she bathes in her garden, two lustful elders secretly spy on the lovely Susanna. Artist: Workshop of Peter Paul Rubens (Flemish, Siegen 1577–1640 Antwerp) Medium: Oil on wood. Susanna was a fair Hebrew wife who was falsely accused by lecherous voyeurs. [2] The date of this painting is important because if it was done in 1616 or 1619 it would put it into the Florentine period, but since the painting was done in 1610 this painting was created in the Roman period. [2], Gentileschi's father, Orazio Gentileschi, was one of the first people in Italy to paint in the style of Caravaggio. Susanna and the Elders (also known as Susanna e i Vecchioni) is a 18th-century portrait painted in oil by Giambattista Pittoni, made around 1720, during the Rococo in Venice, Italy, exhibited at the Metropolitan Museum of Art. The tale is set in Babylon during the Jewish exile and tells of Susanna taking a bath in her private garden. She is the wife of the wealthy and respected Joakim, at whose Babylonian house elders gather daily to judge the people’s cases. 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