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Vic-sur-Seille, 1593 ; Lunéville, 1652
1630 vers
H. 144,5 cm ; l. 97 cm (sans cadre) ; H. 147,5 cm ; l. 97 cm ; P. 6 cm ; VOLUM. 0,0858 (avec cadre)
M0536_L.I.86
Le thème tiré d’un passage du "Livre de Job" dans la Bible (Job 2, 8-10) illustre la mise à l’épreuve de la foi de Job, par Satan et Dieu : ruiné, accablé de misères, Job calme la brûlure de ses ulcères avec un tesson de poterie posé à ses pieds. Il supporte la déchéance sans se rebeller contre Dieu, ce qui surprend son entourage et son épouse. Le clair-obscur très contrasté sature les couleurs et la lumière concentre l’attention sur les trois éléments principaux du récit : la robe flamboyante, l’échange des regards et la flamme de la bougie, symbole de la présence divine. D’auteur anonyme lors de son entrée dans les collections du musée en 1829, ce tableau est attribué à Georges de La Tour en 1922, attribution confirmée en 1972 lors de la découverte de sa signature au cours de la restauration de l’œuvre. Influencé par le Caravage, Georges de La Tour crée une œuvre puissante avec une économie de moyens : simplicité de la composition, naturalisme de la représentation et luminisme fortement contrasté.
The inspiration for this painting was taken from a passage in the "Book of Job" in the Bible (Job II, 8-10). Here, Job’s faith is tested by Satan and God. Ruined and miserable, Job tends to his ulcers. A potsherd lies at his feet. He maintains his faith in God despite loss and suffering, which surprises those around him, including his wife. The extreme contrast between light and darkness, with deep hues and intense light, focuses the viewer’s attention onto three primary elements: the red dress, the exchange of looks, and the candle’s flame--a symbol of divine presence. When this painting entered into the museum’s collections in 1829, its author was anonymous. In 1922, it was attributed to Georges de La Tour, which was reconfirmed in 1972 when a signature was discovered during restoration work. Georges de La Tour, who was influenced by Caravaggio, created a powerful body of work featuring a restrained style: simple compositions, natural representations, and strong contrasts of light.
The inspiration for this painting was taken from a passage in the "Book of Job" in the Bible (Job II, 8-10). Here, Job’s faith is tested by Satan and God. Ruined and miserable, Job tends to his ulcers. A potsherd lies at his feet. He maintains his faith in God despite loss and suffering, which surprises those around him, including his wife. The extreme contrast between light and darkness, with deep hues and intense light, focuses the viewer’s attention onto three primary elements: the red dress, the exchange of looks, and the candle’s flame--a symbol of divine presence. When this painting entered into the museum’s collections in 1829, its author was anonymous. In 1922, it was attributed to Georges de La Tour, which was reconfirmed in 1972 when a signature was discovered during restoration work. Georges de La Tour, who was influenced by Caravaggio, created a powerful body of work featuring a restrained style: simple compositions, natural representations, and strong contrasts of light.
Au premier regard, l’épouse de Job semble dure envers son mari, l’accablant de reproches et le dominant dans la composition du tableau. Néanmoins, si elle ne comprend pas pourquoi son époux souffre de si grandes douleurs et s’abandonne pourtant toujours à la volonté divine, celle qu’on ne connaît que comme « la femme de Job » demeure auprès de lui : quand tous l’ont abandonné, elle reste présente. La solidité de leur couple est exemplaire, et la tendresse qui persiste dans leurs regards émouvante.
At first glance, it seems that Job’s wife is being harsh towards her husband, as she is heaping reproaches on him and bossing him around in the composition of the painting. But even though she cannot understand why her husband always accepts divine will despite experiencing such great suffering, the woman, who is known only as “Job’s wife”, stays with him: when everyone else has deserted him, she is still there. The strength of their relationship as a couple is exemplary, and the tenderness that can still be seen in the way they look at each other is touching.
At first glance, it seems that Job’s wife is being harsh towards her husband, as she is heaping reproaches on him and bossing him around in the composition of the painting. But even though she cannot understand why her husband always accepts divine will despite experiencing such great suffering, the woman, who is known only as “Job’s wife”, stays with him: when everyone else has deserted him, she is still there. The strength of their relationship as a couple is exemplary, and the tenderness that can still be seen in the way they look at each other is touching.
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