For this example, as well as the iconography of penningen, see Eddy de Jongh, Portretten van echt en trouw: Huwelijk en gezin in de Nederlandse kunst van de zeventiende eeuw (Exh. Iconclass is a classification system pertaining to art and iconography, designed to describe and classify subjects, themes, and motifs represented in images. Rebecca and Eliezer at the Well (circa 550) is a continuous narration; it illustrates four segments in Vienna Genesis 24:10–22 as four scenes integrated as one illustration. Structured data. Medium. View in Augmented Reality. Rebecca and Eliezer at the well, after Nicolas Poussin oil on canvas, height 50.2cm, width 79.4cm, after 1648. Fondazione Cariplo Milan, Italy. Melbourne, National Gallery of Victoria; Canberra, National Gallery of Australia) (Zwolle, 1997–98), 269–70. “À la une: Le Marché.”. “The Leiden Collection and the Dutch Golden Age.” In. Bol’s work may be one of the earliest large-scale paintings of the subject in the Netherlands in the seventeenth century. Rebecca and Eliezer at the Well Carlo Maratti (Italian, 1625-1713) Not Currently on View Image Licensing. Joshua Bruyn shed further doubt on the identity of the sitters’ roles in a 1993 article based on the relationship between the Dordrecht painting and the Lyon fragment. A drawing by Carel Fabritius in the Fondation Custodia, Paris, shows a dense array of figures and animals while following the compositional relationship between Rebecca and Eliezer seen in the Washington drawing. From 1660, he built up a private client base amongst wealthy patrons of Europe, establishing the most prominent art studio in Rome of his time and, after the death of Bernini in 1680, he became the leading artist in Rome. Arriving near a well with his ten camels, he finds – among the women coming to draw water – Rebecca, who is “very pleasant to look at” and gives water to him and his camels. Eliezer comes upon Rebecca, a stranger, who draws water from a well for him and all his camels. Most significantly, he distanced the relationship between Rebecca and Eliezer. The story of Rebecca (Rebekah) at the well is one of the greatest Bible stories of all time. Amsterdam, Joods Historisch Museum; Jerusalem, Israel Museum) (Amsterdam, 1991–92); and Volker Manuth, “Denomination and Iconography: The Choice of Subject Matter in the Biblical Painting of the Rembrandt Circle,” Simiolus 22, no. An area measuring a few centimeters of a previously applied 20 cm-high fabric addition along the width of the upper edge was retained during the recent lining procedure, and the painting was brought back to what appears to be close to the composition’s original format. Rebecca and Eliezer at the Well, a painted fan, the verso painted with a lady holding a looking glass or a Claude glass, the ivory stick carved with a central cartouche of Harlequin and Columbine, and carved, painted and pierced with dogs, houses and trees, the guardsticks carved with Harlequin - 11.5in.(28cm. Max Size, 6248 x 4700px JPG, Size: 21.89 MB, 300dpi. Edited by Arthur K. Wheelock Jr. and Lara Yeager-Crasselt. cat. Light falling over her face and cream-colored robes accents her earring, as well as a jewel nestled into the cascade of maroon fabric behind Eliezer, jewelry that Rebecca would receive as a gift for her hand in marriage.3. However, the cameo to the left surely shows Eliezer requesting water from one of the women. Download. (Landau and Pfalz, 1983–94), 2: nos. Found in the Collection of Musée du Louvre, Paris. Recognizing her kindness, he identifies her as a suitable bride for Isaac and gives her a ring as a token of gratitude. (Worms, 1988); and more recently, Ann Jensen Adams, “The Performative portrait historié,” in Pokerfaced: Flemish and Dutch Baroque Faces Unveiled, ed. Ducos, Blaise, and Lara Yeager-Crasselt, eds. oil on canvas. Seated with his back to the viewer, Eliezer cups Rebecca’s large pitcher between his hands to take his first sip of water. Although the Dordrecht portrait can almost certainly be identified with a work described in the 1681 estate inventory of Anna van Erckel as “the likeness of the deceased and her first husband in the guise of Isaac and Rebecca in an ebony frame by Ferd. Unlike Giovan Battista Gaulli’s nave fresco in the nearby church of the Gesu which was being painted at the same time, Maratta did not employ illusionism; his scene remained within its frame and used few figures. (Landau and Pfalz, 1983–94), 1: no. According to the auction house, it was previously attributed to Rembrandt. For the significance of Rebecca as a model of female virtue, see Netty van de Kamp, “Die Genesis: Die Urgeschichte und die Geschichte der Erzvater,” in Het oude testament in de schilderkunst van de gouden eeuw, ed. Captions. Rebecca at the Well c. 1648 Oil on canvas, 118 x 199 cm Musée du Louvre, Paris: Some of Poussin's pictures painted in the latter half of the 1640s can be dated. Rebecca and Eliezer at the Well 1655-57 Oil on canvas, 119 x 157 cm Museum of Art, Indianapolis: A leading figure in Rome's cultural world in the second half of the seventeenth century, Carlo Maratti is a good example of both the strengths and weaknesses of the Baroque. Theotokos mosaic, apse, Hagia Sophia, Istanbul. Rebecca ends up being the perfect girl for Issac. late 1650s/early 1660s, oil on canvas, Národni Galerie, Prague; Rebecca and Eliezer at the Well, 1661, oil on canvas, National Gallery of Art, London. This Francesco Solimena Rebecca And Eliezer At The Well artwork is hand painted on canvas. The title page of Rombout Jacobsen’s emblem book Bruylofts-Dichten, published by Claes Jansz Visscher in Amsterdam in 1616, depicts Rebecca and Eliezer at the well in one of four vignettes of biblical marriage scenes. 80. Entry based on a 2012 examination report by Elsa Vigououx, paintings conservation department, Musée du Louvre, Paris. ; 161.3 by 207 cm. Add a one-line explanation of what this file represents. ‘Eliezer and Rebecca at the Well’ was created in 1648 by Nicolas Poussin in Classicism style. There is always something old that we want to hang on to and there is always something new that we want to explore. For the Lyon fragment and its possible relationship to the Dordrecht portrait, see See Hans Buijs and Mària van Berge-Gerbaud, Tableaux flamands et hollandaise du Musée des Beaux-Arts de Lyon (Exh. Abu Dhabi, Louvre Abu Dhabi, “Rembrandt, Vermeer and the Dutch Golden Age. See the Technical Summary. Christian Tümpel (Exh. Artist Bol, Ferdinand . Max Size, 8597 x 6495px JPG, Size: 17.66 MB, 300dpi. He suggested that the addition of a third shepherd figure to the Dordrecht image would rule out the story of Isaac and Rebecca. In doing so, he evoked not only Rebecca’s own attributes, but also the universal qualities of generosity and humility that made her a model for wives in the sixteenth and seventeenth centuries.5 The story of Rebecca and Eliezer was celebrated in prints, emblem books, and penningen, marriage tokens given to brides on their wedding day.6  The two figures were traditionally depicted in a large stage-like setting before the well, where a group of onlookers watches Rebecca’s formal and reserved passing of the pitcher to Eliezer. Bol’s painting departs from this tradition by reducing the composition to three main figures and focusing on the figure of Rebecca. This work was gifted to the Musée du Louvre in 2017, having been on loan to the Louvre’s Dutch galleries since its acquisition in 2010. “Rebecca and Eliezer at the Well,” In, Yeager-Crasselt, Lara. A double ground, comprising a warm earth-colored lower ground followed by a white ground, has been thinly and evenly applied. A second drawing of this scene is in Edinburgh; Rebecca and Eliezer at the Well, early 1640s, pen in brown, National Gallery of Scotland, Edinburgh. His technical ability was unsurpassed as was his knowledge of formal models. During the 1670s he was commissioned by Pope Clement X to fresco the ceiling of the salone in the Palazzo Altieri; the iconographic programme for The Triumph of Clemency was devised by Bellori. oil on copper. The Darmstadt drawing exhibits an expressive distribution of light and shadow, which is also seen in FB-106. Otto Benesch, The Drawings of Rembrandt, ed. Vienna, Kunsthistorisches Museum. Possibly J. de Bos, Amsterdam (his sale, Amsterdam, 6 August 1810, no. Rebecca and Eliezer at the Well is Bol’s only known painting of this subject, but he also rendered this biblical narrative in a drawing from the latter half of the 1640s (fig 2).13 In this work, Bol expanded the scope of the composition by adding more figures and enlarging the setting. https://theleidencollection.com/artwork/rebecca-and-eliezer-at-the-well/ (accessed March 30, 2021). (Genesis 24). His sculptural designs included figures of the Apostles for San Giovanni in Laterano. Structured data. Private collection, France (sale, Perrin-Royère-Lajeunesse, Versailles, 14 June 2009, no. Original file ‎ (1,048 × 774 pixels, file size: 93 KB, MIME type: image/jpeg) File information. Hagia Sophia as a mosque. See Eddy de Jongh, Portretten van echt en trouw: Huwelijk en gezin in de Nederlandse kunst van de zeventiende eeuw (Exh. Benesch attributed it to Rembrandt, though Schatborn later published it as by Fabritius because of its relationship to the Lugt drawing. 38 [to Salomon Lilian B. V., Amsterdam]). There are no infrared images of this painting. Jahrhundert, 2 vols. Rebecca and Eliezer at the Well (1760) Joseph Esperlin (German, 1707-1775) Facebook Twitter Pinterest. cat. This piece is an etching with hand water coloring on Arches wove … Read more. cat. New York, 2020–. Please enter your email address. Get premium, high resolution news photos at Getty Images Oil on canvas, 120 × 154cm. 4 (1993): 235–52. He continued to run his studio into old age even when he could no longer paint. Captions. The painting had been in the same French private collection since the beginning of nineteenth century. REBECCA AND ELIEZER AT THE WELL AND JACOB WRESTLING AN ANGEL FROM THE VIENNA GENESIS Early Byzantine Europe Early 6th century CE “Paris – New York – Paris: Ducos, Blaise. Summary. R 108). cat. “Rebecca and Eliezer at the well”. The scene on the right may be Eliezer waiting by the well, watching for a likely prospect to appear. The textual story can be followed beginning from the top right scene, proceeding in a counterclockwise order. Jan Victors (1619–76), Philips Koninck (1619–88), Van den Eeckhout, and De Gelder also depicted the subsequent meeting of Rebecca and Isaac, and Rembrandt depicted Rebecca and Isaac in the Jewish Bride, ca. cat. Hagia Sophia, Istanbul. His daughter's features were incorporated into a number of Maratta's late paintings. Notably, Blankert rejected the attribution of the Lyon fragment to Bol (no. Download. A beginner's guide to Byzantine Art. Sacchi argued that paintings should only have a few figures which should express the narrative whereas Cortona countered that a greater number of figures allowed for the development of sub themes. Download. 5. Born in Camerano (Marche), then part of the Papal States, Maratta went to Rome in 1636, accompanied by, Don Corintio Benicampi, secretary to Taddeo Barberini. 4 (1994): 208–14. Add a one-line explanation of what this file represents. It similarly appears in Rest on the Flight into Egypt and Judah and Thamar. (Exh. English. Hagia Sophia, Istanbul. 77. diss., Ludwig-Maximilians-Universität, Munich, 1967); F. B. Polleross, Das sakrale Identifikationsportät: Ein höfischer Bildtypus vom 13. bis zum 20. 68 [to W. Reyers for 35 florins]). Perris-Delmas, Stéphanie. Broad passages of light and dark define his thick shoulders and torso, which are clothed in a brown tunic and accented by a bright red-belted sash.2 Rebecca supports the heavy vessel from below, and gently tilts the pitcher towards Eliezer’s lips. Haarlem, Frans Hals Museum) (Zwolle, 1986), 319–20, who cites the example of Jan Taffin’s Boetveerdicheyt des levens, published in Haarlem in 1613, and Albert Blankert’s discussion of the theme in “Rembrandt’s Impact,” in Rembrandt: A Genius and His Impact, ed. Captions . Rebecca and Eliezer at the Well- Story. Also see note 9 for the Washington drawing. Carlo Maratta or Maratti was an Italian painter, active mostly in Rome, and known principally for his classicizing paintings executed in a Late Baroque Classical manner. 150; and Eddy de Jongh, Portretten van echt en trouw: Huwelijk en gezin in de Nederlandse kunst van de zeventiende eeuw (Exh. 1642, and The Rest on the Flight into Egypt and Judah Gives Thamar His Signet Ring, both dated to 1644.11 In each of these works Bol similarly situated large, weighty figures in tightly composed landscapes. (London, 1973), nos. (Abraham’s servant Eliezer courts Rebecca for Isaac). A PDF of every version of this entry is available in this Online Catalogue's Archive, and the Archive is managed by a permanent URL. Rebecca tenderly clasps her hand to her chest as she and her maidservant gaze down toward him. Haarlem, Frans Hals Museum) (Zwolle, 1986), 319–20; G. van der Meer, “Twaalf gegraveerde penningen, 17de en 18de eeuw,” in Vereniging Rembrandt. Favourite Collect Standard, 5158 x 3897px JPG, Size: 11.18 MB, 300dpi. . Learn more at. They include Rebecca at the Well, painted for Pointel in 1648, where the large scale and almost frozen quality of the figures is the same as that of the Edinburgh Sacraments. Maratta died in 1713 in Rome, and was buried there in Santa Maria degli Angeli. An important distinction between these works is their format: FB-106 is vertically oriented, while the other paintings are horizontal. The image shows Eliezer seated with his back to the viewer, rendered in half shadow. Il … 261. Paintings by Constantijn Renesse (1626–80) and Arent de Gelder (1645–1727), the latter in the Leiden Collection, on the other hand, also were conceived with tightly cropped compositions that allowed for the personal intimacy of Bol’s work. In Europe, artists and patrons of the ancient world loved realistic details and ver… The visual arts have undergone numerous changes and transitions from their prehistoric origins to the present. Rebecca went to the well outside her city and encountered a stranger who identified her as the answer to his prayers. The substantial differences that exist between the drawing and the painting suggest that the two works were created independently of each other. Marc Chagall. Italian art has always occupied a space between the expressive and the classical. Rebecca And Eliezer At The Well (1655-1657) Carlo Maratti (Italian, 1625-1713) Facebook Twitter Pinterest. She forms the core of the painting’s pyramidal composition, holding a position of strength and stability. Although he is part of the classical tradition stemming from Raphael, he was not exempt from the influence of Baroque painting and particularly in his use of colour. It shows the story of Abraham's servant Eliezer giving Rebecca jewels to seal her betrothal to Isaac, after she had demonstrated the kindness foreseen by Abraham in offering water to Eliezer's camels (Gen. 24:11-20). Walter L. Strauss (New York, 1979), 87–122, 546, no. Trouvez des illustrations premium haute résolution sur Getty Images. 1580–1607, engraving; Nicolaes Cornelisz Moyaert, Eliezer and Rebecca, ca. 431, 439, and 477; and Ben Broos and Rieke van Leeuwen, Gerbrand van den Eeckhout, Isaak en Rebekka, 1665: Een nieuwe aanwinst (The Hague, 1989). 1665–69, oil on canvas, Rijksmuseum, Amsterdam. Virgin (Theotokos) and Child between Saints Theodore and George. 7 and 16. Rebecca And Eliezer At The Well (1655-1657), The Virgin with Female Attendant Appearing to Four Male Saints (1680–95), En Sejrende Feltherre I Audiens Hos Et Herskerpar (1624 – 1714), Mystic Marriage Of Saint Catherine Of Alexandria, Study of a Putto Seated on a Corbel in a Shell Niche (ca. Verslag over 1982 (Amsterdam, 1982), 62–65. Captions This file has been superseded by File:Maratta, Carlo - Rebecca and Eliezer at the Well - 1655-1657.jpg. In his painting, Bol simplified the narrative by monumentalizing the figures and focusing on Rebecca’s act of kindness.10, Bol’s treatment of this story corresponded to other biblical history paintings he executed in the mid-1640s, such as the Leiden Collection’s The Angel Appearing to Elijah, dated to ca. Rebecca and Eliezer at the Well, folio 7 recto from the Vienna Genesis, early 6th century, tempera, gold and silver on purple vellum, 12-1/2 x 9-1/4 inches (Österreichische Nationalbibliothek, Vienna) ; 127.6 by 173.7 cm. For the portrait historié, see Rose Wishnevsky, “Studien zum portrait historié in den Niederlanden” (Ph.D. A later seventeenth-century example of the latter can be found in the Rijksmuseum, Amsterdam: Johannes Lutma II, Rebecca by the Well, ca. See Werner Sumowski, Drawings of the Rembrandt School, ed. For Bol’s religious history paintings, see Albert Blankert, Ferdinand Bol (1616–1680): Rembrandt’s Pupil (Doornspijk, 1982), 27–40, 89–97, nos. 637 and 712. Albert Blankert confirmed the attribution to Bol in 2009. No wax collection seals, import stamps, stencils, inscriptions, or labels are located along the lining or stretcher reverse. Next to Rebecca is a young maidservant whose crimson dress echoes the color of Eliezer’s belted sash. Download. Katlijne van der Stighelen, Hannelore Magnus, and Bert Watteeuw (Turnhout, 2011), 193–214. Following his sixteenth-century predecessors, Nieulandt set … modifier - modifier le code - modifier Wikidata Éliézer et Rébecca appelé aussi Éliézer remet les présents d'Abraham à Rébecca est un tableau peint vers 1648-1649 par Nicolas Poussin. Technical investigation has shown that the canvas has been trimmed only slightly along the right edge. Following his sixteenth-century predecessors, Nieulandt set the story in a large landscape filled with figures and narrative details. framed: 63½ by 81½ in. As Rebecca gazes down on Eliezer with a soft, compassionate expression, she seems to have already accepted God’s will. Media: oil, canvas. Another major work from this period was 'The Mystery of the Trinity Revealed to St. Augustine' (c. 1655) painted for the church of Santa Maria dei Sette Dolori. Ducos, Blaise. Amsterdam, Joods Historisch Museum; Jerusalem, Israel Museum) (Amsterdam, 1991), 34–36; Eddy de Jongh, Portretten van echt en trouw: Huwelijk en gezin in de Nederlandse kunst van de zeventiende eeuw (Exh. Also see The Sacrifice of Isaac, dated 1646, oil on canvas, Mansi Collection, Lucca, which similarly has a large, vertical format, with life-sized figures set in a rocky landscape. 1654, silver, 7.5 cm; the opposite side shows the marriage of Rebecca and Isaac. figure by the well 1. (Exh. See note 9 above for the Washington drawing. San Vitale, Ravenna . Deësis mosaic, Hagia Sophia, Istanbul. Genre: religious painting. It is not clear whether one of the women he sees is Rebecca, as Rebecca is not described as coming with a friend or maid servant. (New York, 1979–92), 3: nos. Fibulae. He also painted numerous English sitters during their visits to Rome on the Grand Tour, having sketched antiquities for John Evelyn as early as 1645. Bol,” doubts still linger about the figures’ biblical identification. For the former, see Peter Schatborn, Rembrandt and His Circle: Drawings in the Frits Lugt Collection (Paris, 2010), no. You can help. You will receive mail with link to set new password. Information from its description page there is shown below. copper: 7 3/8 by 11 in. ), Dutch, circa 1740 Find premium, high-resolution illustrative art at Getty Images. Commons is a freely licensed media file repository. Los Angeles, J. Paul Getty Museum) (Los Angeles, 2009), 80–101. Title: Fan with Rebecca and Eliezer at the Well Available in three sizes: 150 pieces, 250 pieces and 400 pieces. To the left, an arched doorway reveals a gentle landscape, while Eliezer’s camels gather at the well to the right. Rebecca and Eliezer at the Well, circa 1645. (London, 1973), 3: no. From whom acquired by the present owner in 2009. By focusing on the interaction between Rebecca and Eliezer, Bol captured the humanity and grace that accompanied this divine moment. Eva Benesch 6 vols. On the journey, Eliezer is in need of help and Rebecca comes to the rescue. 167; Werner Sumowski, Gemälde der Rembrandt-Schüler, 6 vols. Paris, Museé du Louvre, November 2010–November 2015, on loan with the permanent collection [lent by the present owner]. Signature. Lost your password? Eva Benesch, 6 vols. Rebecca and Eliezer at the Well. His pictures of the late 1650s exhibit light and movement derived from Roman Baroque painting, combined with classical idealism. Among these works, Rebecca and Eliezer at the Well displays a more assured command of form, space and the exchange of gestures, suggesting that he executed it at a slightly later date, probably around 1645–46.12. And the servant ran to meet her, and said, ‘Let me, I pray thee, drink a little water of thy pitcher.’ ‘Drink, my lord’: and she hasted, and let down her pitcher upon her hand, and gave him a drink” (Gen. 24:10–20). Dressed in a velvet beret and surrounded by sheep, he looks directly out at the viewer. ; 26.5 by 35.2 cm. 1615, etching. English. The Meeting of Eliezer and Rebecca at the Well Giovanni Battista Tiepolo 1724/1728. The original image (circa 1931-1939) was created as a gouache on paper in preparation for the engravings of the Bible Suite. W. Reyers for 35 florins ] ) ; Nicolaes Cornelisz Moyaert, Eliezer and Rebecca comes to Well! Main figures and narrative details tonal palette, Bol and Anna van Erckel married 1669. Faustina, was born to Maratta by his mistress, Francesca Gommi ( or Gomma ) human interaction ). Maidservant gaze down toward him, Istanbul painted on canvas visual arts have undergone numerous changes transitions. 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