Artwork

Samson and Delilah

Samson and Delilah, by Hans Brosamer, 1545
Samson and Delilah, by Hans Brosamer, 1545

Samson and Delilah is a print by the Renaissance artist Hans Brosamer. It dates from 1545 and is held in the collection of the Cleveland Museum of Art.

About this work

Overview

The print depicts the biblical episode in which Samson, the Nazirite hero famed for his strength, is rendered vulnerable as Delilah cuts his hair. He lies asleep on her lap while Philistine soldiers approach, and a large cup and jug suggest wine has been used to induce his slumber.

Subject & Meaning

In the narrative, Samson’s power is tied to his uncut hair; Delilah, bribed by the Philistines, discovers this secret and betrays him. The composition emphasizes the moral warning popular in Protestant Northern Europe, portraying the perils of temptation and the neglect of sacred vows.

Technique & Style

Hans Brosamer’s print employs dense visual detail, filling the scene with symbolic objects—a scissors, the wine vessels, and the looming soldiers—to create a theatrical tableau. The crowded arrangement and careful line work echo contemporary German printmaking practices of the early sixteenth century.

History & Provenance

The work belongs to a series of Samson and Delilah representations that circulated in Germany during the Reformation era. It reflects the period’s interest in biblical subjects as didactic material, and it aligns with similar treatments by artists such as Hans Burgkmair I, who used a single beaker to highlight the wine motif.

Context

The story resonated strongly in Protestant regions, where it served as an illustration of the dangers of moral laxity. By embedding everyday objects and a staged composition, the artist linked the ancient tale to contemporary concerns about fidelity to religious commitments.

Artist & collection

Portrait of Hans Brosamer

Artist

Hans Brosamer

Hans Brosamer was a German draughtsman, printmaker and painter of the Renaissance period. His life has left hardly any documentary trace, other than his prints, but he was active in Fulda from 1536 to 1545, and later worked in Erfurt.

This work is in the public domain (CC0). Image source: Cleveland Museum of Art open access. Spotted an error in this record? Tell us.