The Embarkation of the Queen of Sheba is an oil painting on canvas by the French painter Claude Gellée, known as “Le Lorrain,” created in 1648. The painting depicts a biblical scene of the departure of the Queen of Sheba to visit King Solomon in Jerusalem, transposed into an idealized maritime landscape. The canvas measures 149 x 194 cm and is housed in the National Gallery in London.
Historical context of the work
The Embarkation of the Queen of Sheba is part of a series of paintings commissioned by Frédéric-Maurice de La Tour d’Auvergne, Duke of Bouillon and Prince of Sedan, from Claude Gellée in 1646. The Duke was a great patron who wanted to decorate his Roman palace with paintings depicting biblical or mythological scenes. He had chosen as subject the embarkation of the Queen of Sheba, inspired by the Book of Kings (1 Kings 10:1-13).
Claude Gellée was then 46 years old and was the most famous and respected painter in Rome. He was born in Lorraine around 1600 and trained in Nancy and then Rome. He specialized in landscape painting, which he treated with great mastery of perspective and light. He had created his own style, characterized by harmonious and poetic compositions, which earned him the nickname “Le Lorrain.”
The painting was completed in 1648 and delivered to the Duke with its pendant, Landscape with Marriage of Isaac and Rebecca. It was then passed on to several owners before being acquired by John Julius Angerstein in 1794. It entered the National Gallery in 1824 with the Angerstein collection. It was restored in 1989 and regained its original splendor.
Analysis of painting
The painting depicts moment when Queen Sheba prepares to embark on ship to meet King Solomon in Jerusalem. The scene takes place in imaginary port adorned with antique modern buildings. The composition is organized along ascending diagonal that goes from lower left corner to upper right corner.
In foreground, we see Queen Sheba surrounded by her servants riches. She is dressed in blue dress red cloak that contrast with her fair skin. She wears jewelry on her ears neck arms.
In middle ground, we see ship waiting for queen on calm water. It is adorned with golden sculptures white sail. It bears name painter: CLAVDIO F (Claudio fecit). It is accompanied by other smaller boats carrying goods passengers.
In third plan we see port extending behind queen. We distinguish columns arcades that recall classical architecture. We also notice more recent buildings that evoke Venetian Roman architecture. We also observe various characters animating scene: soldiers merchants fishermen children…
In last plan we see landscape rising behind port. We distinguish verdant hills leafy trees white clouds.The palette painting is rich harmonious: it mixes warm tones (red orange yellow) cool tones (blue green). Claude Gellée uses oil on canvas technique to create transparency luminosity effects that enhance realism poetry landscape. He also takes care with details such as characters animals objects that demonstrate his attentive observation creative imagination.
Interpretation
The Embarkation Queen Sheba is typical work in Lorrain style characterized by luminous harmonious beauty landscape. Claude Gellée expresses his personal vision journey by staging majestic peaceful scene.
Claude Gellée does not seek to faithfully illustrate biblical narrative or convey precise religious message. Rather he freely draws inspiration from sacred text to create original profane work. He thus highlights contrast between East West; between past present; between natural artificial.
Claude Gellée also addresses his patron cultured public who appreciate learned references symbolic allusions. He thus evokes his knowledge ancient art contemporary art; his admiration for Italian Flemish masters; his taste for exotic historical themes.
The Embarkation Queen Sheba is therefore remarkable work for its technique expressiveness. It is also emblematic work from French Renaissance testifying to artistic cultural talent of the Lorrain.
