Henri Leopold Levy – Joash Saved from the Massacre of the Royal Family
1867 oil on canvas
Location: Museum of Fine Arts (Musée des Beaux-Arts), Arras.
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Below them lie several figures, prostrate and seemingly lifeless, clad in vibrant red garments. Their postures suggest a recent violent encounter; scattered weaponry – swords, daggers – litter the ground around them, reinforcing the sense of immediate danger. The artist has rendered these fallen individuals with considerable attention to anatomical detail, emphasizing their suffering through contorted limbs and relaxed expressions.
Beyond this foreground, a throng of armed men fills the space, engaged in what appears to be a massacre. They are depicted in various poses – some brandishing weapons, others shouting or struggling – creating a sense of frenzied action. The background architecture is grand but damaged, with visible signs of destruction and disarray. A balcony overlooking the scene provides an elevated perspective on the unfolding events, further emphasizing the scale of the tragedy.
The color palette is dominated by rich reds, browns, and golds, contributing to the overall dramatic effect. The use of chiaroscuro – the contrast between light and dark – is particularly striking, drawing attention to the central figures while simultaneously creating a sense of foreboding in the surrounding shadows.
Subtly, the painting explores themes of divine intervention and protection. The woman’s posture suggests she is shielding the child not only from physical harm but also from some larger, unseen threat. Her gaze is directed upwards, perhaps indicating reliance on a higher power for salvation. The contrast between the vulnerability of the rescued child and the brutality of the surrounding violence underscores the precariousness of life and the potential for sudden upheaval. The scene evokes a sense of loss and trauma, while simultaneously hinting at hope through the survival of the central figures.