Who painted Amnon Attacking Tamar?

Amnon Attacking Tamar was painted by Jan van Dornicke in 1520.

Where can I see Amnon Attacking Tamar?

Amnon Attacking Tamar is held by Walters Art Museum.

What movement is Amnon Attacking Tamar?

Amnon Attacking Tamar is associated with Northern Renaissance.

Artwork

Amnon Attacking Tamar

Jan van Dornicke , 1520

Amnon Attacking Tamar is an oil painting by the Northern Renaissance artist Jan van Dornicke. It dates from 1520 and is held in the collection of the Walters Art Museum.

About this work

Overview

Created in 1520 by Jan van Dornicke, a painter active in Antwerp during the early sixteenth century, this oil on panel presents a violent biblical episode. The work belongs to the Northern Renaissance and is currently part of the Walters Art Museum’s collection.

Subject & Meaning

The composition illustrates the moment when Amnon seizes his half‑sister Tamar, a narrative drawn from the Hebrew Bible. Tamar is shown reclining on a bed beneath a red canopy, while the shirtless, red‑haired Amnon reaches for her, emphasizing the themes of betrayal and sexual violence that the story conveys.

Technique & Style

The painting employs strong chiaroscuro, contrasting deep shadows with illuminated forms to heighten the drama of the encounter. Its figures and architectural details reflect the ornamental exuberance typical of Antwerp Mannerism, with elaborate drapery, a decorative window frame, and a doorway topped by a sculptural figure.

History & Provenance

Jan van Dornicke, sometimes identified with the anonymous Master of 1518, worked in Antwerp between roughly 1509 and 1525. After remaining in private hands for several centuries, the canvas entered the Walters Art Museum, where it has been displayed as part of the museum’s Northern Renaissance holdings.

Context

The scene derives from the Second Book of Samuel, a source frequently depicted by Renaissance artists to explore moral and theological questions. In the early sixteenth‑century Low Countries, such biblical subjects were often rendered with heightened emotional intensity, aligning with contemporary devotional practices that encouraged personal reflection on scriptural narratives.