David Slings the Stone c. 1896 - 1902

Editor: This is James Tissot's "David Slings the Stone," made between 1896 and 1902. It’s an oil painting, but it almost looks like a watercolor because of the thin washes of color. I’m struck by the theatricality of it all, especially the enormous crowd. What do you make of this portrayal of the iconic scene? Curator: The drama is certainly heightened, isn't it? Tissot was deeply interested in the relationship between the spiritual and the visible. The late 19th century saw an increase in both religious and scientific ways of thinking. The crowd represents not just witnesses to the event but also, perhaps, the societal pressures and expectations placed on both David and Goliath. Notice how the figures are painted quite flatly. Editor: I do. There's almost a cartoonish quality to their faces. Curator: Indeed. Tissot is not concerned with precise historical accuracy; he is exploring the visual power of biblical narrative for a modern audience. How might depicting the scene with so many figures amplify or distort the message of David's victory? Editor: I guess it turns the event into more of a spectacle. David's victory isn't just about faith or skill anymore; it's also about performing under the gaze of public opinion. The narrative turns into a visual, a media-worthy display. Curator: Exactly! Consider also how Tissot’s project to illustrate the Bible was supported by print culture, enabling these scenes to reach a mass audience as never before. David wasn't just slinging a stone; he was slinging a story ready for mass distribution. Editor: I never considered how reproduction affects our reading of these stories! It gives the image and event new sociopolitical importance. Curator: Precisely. Art becomes inextricably linked with its context. That is why history can clarify much of what we see here. Editor: I’ll be thinking about this for a long time. Thank you for the insightful tour through history.