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Anna Eörsi
eorsianna@gmail.com
Anna Eörsi
Budapest , Hungary
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The titles previously given to Rembrandt etching B 33 are not convincing: it is problematic to identify the boy as “Isaac” or even as “Benjamin”, and the use of the verb “caress” is also imprecise.
For all their shared intimacy, the two protagonists in the etching were depicted by the artist in different physical and emotional states: the old man is tense while the child is calm; the feet of the former, turning to the right, suggest preparing to depart, while the posture of the latter hints that he is going nowhere. With regard to their close physical proximity, because of the gesture Abraham makes with his left hand, and owing to the telling positions of their feet, the two figures are closely connected to the “banishment of Hagar and Ishmael”. The work depicts Abraham and Ishmael immediately prior to their parting and after the feast celebrating Isaac’s weaning. Ishmael’s supercilious smile and the apple in his hand allude to the argument with his half-brother and also to the Old Testament. It is at this moment that Abraham hears the voice of God, instructing him to send his loved ones away; the tension in his eyes is directed towards God. Every sinew of his body and soul is strained by the ambivalence of the situation: what he has to accept is the unacceptable. It could well be that just an instant earlier he was caressing Ishmael’s chin without a care in the world, but now he gently starts to turn the child’s head in the direction of the voice, while at the same time, the blessing he is about to bestow on his son is already present in his left hand. Ishmael’s position nestled in Abraham’s lap may also refer to his legitimate descent, to the fact that he too is regarded by Abraham as his heir, as the firstborn “of his flesh”.
The work is a nuanced pictorial exegesis of Genesis 21:8–13; it may have been made in the same year, 1637, in which Rembrandt produced etching B 30, depicting the banishment of Hagar and Ishmael.
Luca Giordano also painted Abraham with his firstborn son, Ishmael, in a canvas that once adorned San Juan del Buen Retiro in Madrid.
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MARTIN ROYALTON-KISCH: Drawings by Rembrandt and his circle in the British Museum, London, 1992.
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CONRAD RUDOLPH–STEVEN F. OSTROW: ‘isaac laughing’, caravaggio, non-traditional imagery and traditional identification, Art history 24. 2001, 646–681.
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JACQUES T. A. G. M. VAN RUITEN: Hagar in the book of Jubilees, in Abraham, the Nations, and the Hagarites: Jewish, Christian, and Islamic Perspectives on Kinship With Abraham, eds MARTIN GOODMAN – GEORGE H. KOOTEN – JACQUES T. A. G. M. VAN RUITEN, Leiden–boston, 2010, 117–138.
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SIMON SCHAMA: Rembrandt’s eyes, New york, 1999.
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PETER SCHATBORN – ERIK HINTERDING (et al.): Rembrandt, the complete drawings and etchings, Köln, 2019.
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CONSTANCE SCHILD (ed.): The Complete Etchings of Rembrandt, New york, 1937.
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FRIEDERIKE SCHÜTT: La répudiation d’Agar, in Rembrandt 2021, 236–243.
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SCHWARTZ, GARY (ed.): Rembrandt, All the Etchings Reproduced in True Size, Maarssen, 1977.
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GARY SCHWARTZ: The Rembrandt book, Bruxelles, 2006.
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JOSHUA SCHWARTZ: Ishmael at play: on Exegesis and Jewish society, Hebrew Union College Annual 66, 1995, 203–221.
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JOANNA SHEERS SEIDENSTEIN: Divine encounter: Rembrandt’s Abraham and the angels, New york – london, 2017.
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WOLDEMAR VON SEIDLITZ: Kritisches Verzeichnis der Radierungen Rembrandts, Zugleich eine Anleitung zu deren Studium, Leipzig, 1895.
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WOLDEMAR VON SEIDLITZ: Die Radierungen Rembrandts mit einem kritischen Verzeichnis und Abbil-dung sämtlicher Radierungen, Leipzig, 1922.
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CHRISTINE PETRA SELLIN: Fractured families and rebel maidservants: the Biblical Hagar in seventeenth-century Dutch art and literature, New york, 2006.
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HANS WOLFGANG SINGER: Rembrandt, Des Meisters Radierungen, Stuttgart–leipzig, 1906.
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MARTINA SITT: Lastman und rembrandt am beispiel der „Verstoßung der hagar”, in Rembrandt 2004, 292–295.
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MARTINA SITT: Pieter lastman und rembrandt–von der stummen sprache des Körpers zur Verdichtung von Emotionen, in Lastman 2006, 72–91.
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JOHN SMITH: A catalogue raisonné of the works of the most eminent Dutch, Flemish, and French painters, in which is included a short biographical notice of the artists, with a copious description of their principal pictures…. vol. 7, Rembrandt, London, 1836.
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ADOLF SMITMANS: Probleme des bildsinns bei rembrandt, in Wort und Bild in der niederländischen Kunst und Literatur des 16. und 17. Jahrhunderts, eds HERMAN VEKEMAN – JUSTUS MÜLLER HOFSTEDE, Erftstadt, 1984, 205–208.
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LEO STEINBERG: The metaphors of love and birth in michelangelo’s pietàs, in Studies in erotic art, eds THEODORE BOWIE – CORNELIA V. CHRISTENSON, New york, 1970, 231–285.
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LEO STEINBERG: The sexuality of Christ in renaissance art and in modern oblivion, Chicago, 1996, 2. rev. and expanded edition.
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WERNER SUMOWSKI: Drawings of the Rembrandt School 1, New york, 1979.
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JOHN L. THOMPSON: Hagar: Abraham’s wife and Exile, in Writing the Wrongs: Women of the Old Testament among Biblical Commentators from Philo through the Reformation, Oxford University press, 2001, 17–99.
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JOHAN JAKOB TIKKANEN: Die Beinstellungen in der Kunstgeschichte, Ein Beitrag zur Geschichte der künstlerischen Motive, Helsingfors, 1912.
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CHRISTIAN TÜMPEL: Ikonographische beiträge zu rembrandt, zur deutung und interpretation seiner historien, Jahrbuch der Hamburger Kunstsammlungen 13. 1968, 95–126.
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CHRISTIAN TÜMPEL: Studien zur ikonographie der historien rembrandts, Nederlands kunsthistorisch jaarboek 20. 1969, 107–198.
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CHRISTIAN TÜMPEL – ASTRID TÜMPEL: Rem-brandt legt die bibel aus: Zeichnungen und radierungen aus dem Kupferstichkabinett der staatlichen mu-seen preussischer Kulturbesitz berlin, Berlin, 1970.
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