What specific artistic flaws does the art historian cite in the Rubens?

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The art historian cites several specific artistic flaws in the Rubens painting, Samson and Delilah.

Art historian Euphrosyne Doxiadis has identified a series of artistic deficiencies in the National Gallery's Samson and Delilah, which she contends indicate it is not an original work by Peter Paul Rubens. Her analysis points to issues with colour, composition, and even anatomical detail as evidence supporting her claim. These observations form the basis of her argument that the painting is a copy, not a masterpiece by the 17th-century Flemish artist.
Gaudy Colours and Lack of Harmony

Doxiadis highlights the painting's colours as a primary indicator of its inauthenticity. She describes the hues as "just gaudy," indicating a significant lack of colour harmony. This assessment suggests that the colour palette deviates from the expected aesthetic standards and sophisticated use of colour typically found in Rubens's authenticated works.
Disjointed Drawing and Composition

Beyond colour, Doxiadis points to fundamental problems with the painting's structure and arrangement. She states that the "drawing, the composition were totally out of sync," implying a lack of coherence and skilled execution in how the elements of the scene are rendered and organised. This suggests a visual disconnect that undermines the overall artistic integrity of the piece.
Missing Anatomical Detail

A specific and notable flaw identified by Doxiadis is the absence of Samson's toes in the painting. This omission is presented as a clear oversight, further questioning the quality and authenticity of the work attributed to Rubens. Additionally, she notes discrepancies in the number of soldiers depicted in the doorway when compared to contemporaneous reproductions, which showed three soldiers rather than the five present in the National Gallery's version.

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What specific artistic flaws does the art historian cite in the Rubens?

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