Ferdinand Bol 1616 – 1680
Jacob's Dream
oil on canvas (128 × 97 cm) — 1642
Gemäldegalerie Alte Meister, Dresden
This work is linked to Genesis 28:12
| (창 28:12) | 꿈에 본즉 사닥다리가 땅 위에 서 있는데 그 꼭대기가 하늘에 닿았고 또 본즉 하나님의 사자들이 그 위에서 오르락내리락 하고 |
An angel tells Jacob to return to the land of his father. Twenty years ago, Jacob had ran away from home after a run-in with his brother, Esau. Now the time has come for Jacob to leave his treacherous uncle Laban and go back home, says God's messenger.
Jacob leaves Laban, taking along his herd and women: Laban's daughters Lea and Rachel. Before he reaches Canaan, Laban catches up with them.
Bartholomeus Breenbergh 1598 – 1657
Jacob Wrestling with the Angel
oil on panel (50 × 68 cm) — 1639
Bartholomeus Breenbergh biography
This work is linked to Genesis 32:24
| (창 32:24) | 야곱은 홀로 남았더니 어떤 사람이 날이 새도록 야곱과 씨름하다가 |
Jacob is on his way back to his fatherland Canaan when he encounters his brother Esau's guardian angel, who blocks his way. Jacob and Esau fell out, and Jacob had left the country. The two wrestle all night. At the break of dawn the angel gives up and blesses Jacob. He gives Jacob the name "Israel" in honour of his struggle with God.
Breenbergh put the story in a mediterranean landscape. In the foreground to the left are Jacob's cape and walking stick.
Arent de Gelder 1645 – 1727
Judah and Tamar (1667)
oil on canvas (64 × 88 cm) — 1667
private collection
This work is linked to Genesis 38:16
| (창 38:16) | 길 곁으로 그에게 나아가 이르되 청하건대 나로 네게 들어가게 하라 하니 그의 며느리인 줄을 알지 못하였음이라 그가 이르되 당신이 무엇을 주고 내게 들어오려느냐 |
Judah was the fourth son of patriarch Jacob and his wife Leah. He had three sons: Er, onan and Shelah. Er was married to Tamar. He was killed by God for unknown reasons. Judah then had onan marry Tamar, an ancient Jewish tradition called Levirate marriage. onan however knew that according to the tradition any children would not be considered his. He therefor spilled his semen on the ground. God killed him too.
So poor Tamar was still without children. Judah then promised that his third son Shelah would also be hers, when he would come of age. But when Shelah had reached adulthood, Judah did not fulfill his promise. Tamar then decided to seduce her father-in-law, as she did not wish to be left behind without children.
She dressed as a prostitute and put on a veil. When Judah saw her standing by the road, he did not recognize her. He offered her a kid goat as payment and gave her his staff and seal as security. Afterwards, Judah sent a friend with the kid, but Tamar had already disappeared.
A few months later her pregnancy started showing. Judah accused her with adultery, a serious crime that involved the death penalty. But Tamar produced the staff and seal, upon which Judah realized his error. Tamar gave birth to a pair of twins. one of the sons would become an ancestor of David.
This canvas is the first depiction by De Gelder of this subject. It shows the moment when Judah, overcome by lust, approaches Tamar. She welcomes him smiling, but holds up her hand to ask for a payment. Judah's staff could be a phallic symbol. De Gelder made several paintings on the story of Judah and Tamar, for example this one in 1681.
Colors and the quick painting show the influence of De Gelder's teacher Rembrandt. The rough faces and the halfperson figures hint at the influence of the so-called Utrecht Caravaggists, a group of Caravaggio followers in Utrecht.
Arent de Gelder 1645 – 1727
Judah and Tamar (1681)
oil on canvas (102 × 147 cm) — 1681
private collection
This work is linked to Genesis 38:16
| (창 38:16) | 길 곁으로 그에게 나아가 이르되 청하건대 나로 네게 들어가게 하라 하니 그의 며느리인 줄을 알지 못하였음이라 그가 이르되 당신이 무엇을 주고 내게 들어오려느냐 |
This is a more refined depiction of the story of Tamar and Judah. De Gelder previously told the story in his 1667 painting.
Here too Judah takes Tamar by the chin. She raises her hand, telling him that she requires payment. Tamar's veil, which according to the text shows she is a prostitute, is much thinner in this painting, and Tamar is showing her face. Perhaps De Gelder suggests that Judah was so much overwhelmed with lust that he does not recognize his daughter in law.
Eugène Delacroix 1798 – 1863
Jacob wrestling with the angel
fresco (758 × 491 cm) — 1857-61
This work is linked to Genesis 32:24
| (창 32:24) | 야곱은 홀로 남았더니 어떤 사람이 날이 새도록 야곱과 씨름하다가 |
Delacroix made this huge mural in a side chapel of the church of Saint-Sulpice in Paris. It is a fine example of his naturalistic romantic style. He also made a painting of Heliodorus driven from the temple in the same chapel.
According to the story in Genesis Jacob took a side path on his way home. A man or angel blocked his way. The two wrestled until the breaking of the day, when the angel gave way and blessed Jacob for his perseverance.
Gustave Doré 1832 – 1883
Jacob Wrestling with the Angel
engraving — 1855
This work is linked to Genesis 32:24
| (창 32:24) | 야곱은 홀로 남았더니 어떤 사람이 날이 새도록 야곱과 씨름하다가 |
Please scroll down to read more information about this work.
After twenty years Jacob returns to Canaan to reconcile himself with his brother Esau. on his way he meets Esau's guardian angel, who blocks his way. The two wrestle all night. At the break of dawn the angel gives up and blesses Jacob. He gives Jacob the name "Israel" in honour of his struggle with God.
The name Israel is used throughout the Old Testament to name Jacob's descendants.
The angel is also described as an unidentified man. The fight took place at the shore of the river Jabbok, a tributary of the Jordan river. That is why the scene is also known as Jacob wrestling a man at the Jabbok. The place itself was called Penuel.
Govert Flinck 1615 – 1660
Isaac Blesses Jacob
oil on canvas (117 × 141 cm) — 1638
This work is linked to Genesis 27:23
| (창 27:23) | 그의 손이 형 에서의 손과 같이 털이 있으므로 분별하지 못하고 축복하였더라  창27:16 |
The old and blind Isaac sits in his bed and blesses his son Jacob. Standing next to them is Isaac's wife Rebecca.
Tradition had it that it was Esau who was to be blessed, Jacob's older twin brother. But Rebecca favoured Jacob and wanted him to be blessed. She advised him to put goat skin on his hands, in order to make them feel as hairy as Esau's. The trick was successful, even though Isaac recognized Jacob's voice.
This work of Govert Flinck still shows the influence of Flinck's teacher Rembrandt. Later in his career Flinck's style would become smoother.
Paul Gauguin 1848 – 1903
Vision after the sermon
oil on canvas (73 × 92 cm) — 1888
National Gallery of Scotland, Edinburgh
This work is linked to Genesis 32:24
| (창 32:24) | 야곱은 홀로 남았더니 어떤 사람이 날이 새도록 야곱과 씨름하다가 |
The passage about Jacob wrestling with the angel is often interpreted as the hard struggle some have with faith. Jacob had to wrestle the angel all night long. It wasn't until sunrise that the angel gave up and blessed Jacob.
Gauguin here shows the struggle against a feverish red background. In the foreground he put a group of Breton women, who according to the title had just attended a sermon.
In 1888 Gauguin spent much time in the coastal village of Port-Aven in Brittany, together with many other artists. Together with the painter Émile Bernard he developed a style called cloisonism. The name refers to the compartments (cloisons) separated by metal wires used in the creation of enamel objects. The painters used thin dark lines to draw contours around more or less monochrome fields.
This work is often considered as Gauguin's definite departure from the naturalism that dominated impressionism. He used strong colours, almost without gradients, contrary to what had been the tradition since the Renaissance. He also ignored the rules of perspective. The figures on the foreground are too large in relation to Jacob and the Angel. They also almost block the view on the wrestlers, who according to tradition should have been the central elements in the composition. No wonder that the church of Pont-Aven rejected the work when Gauguin offered it...
Bertram of Minden ca. 1340 – 1414/15
Isaac asks Esau to hunt for venison
mixed techniques on panel (84 × 56 cm) — 1383
This work is linked to Genesis 27:3
| (창 27:3) | 그런즉 네 기구 곧 화살통과 활을 가지고 들에 가서 나를 위하여 사냥하여 |
Old Isaac is almost blind when he calls his son Esau. He wants Esau to go hunting with his bow and get him a nice piece of meat. Isaac promises to bless Esau as a reward.
In the background Isaac's wife Rebecca is listening. She quickly informs Esau's brother Jacob and advises him to be faster than his brother.
The panel is part of Master Bertram's main work, the Grabow altarpiece.
Rembrandt Harmensz. van Rijn 1606 – 1669
Jacob Blessing the Children of Joseph
oil on canvas (175 × 210 cm) — 1656
Gemäldegalerie Alte Meister, Kassel
Rembrandt Harmensz. van Rijn biography
This work is linked to Genesis 48:14
| (창 48:14) | 이스라엘이 오른손을 펴서 차남 에브라임의 머리에 얹고 왼손을 펴서 므낫세의 머리에 얹으니 므낫세는 장자라도 팔을 엇바꾸어 얹었더라 |
When Joseph hears that his father Jacob is dying, he takes his sons Manasseh and Ephraim to see him. He wants Jacob to bless his sons. The blind old man is willing to do so, but much to Joseph's surprise, he puts his right hand on Ephraim's head. Tradition had it that the eldest is to be blessed with the right hand, and Ephraim is the younger.
As Joseph objects, Jacob says about Ephraim "his seed shall become a multitude of nations". Jacob thus must have known that the tribe of Ephraim would become larger than the tribe of Manasseh.
Rembrandt chose not to depict the argument in this intimate painting. Note the presence of Asenath, mother of the children.
Rembrandt Harmensz. van Rijn 1606 – 1669
Jacob Wrestling with the Angel
oil on canvas (137 × 116 cm) — ca. 1659/60
Gemäldegalerie der Staatlichen Museen, Berlin
Rembrandt Harmensz. van Rijn biography
This work is linked to Genesis 32:24
| (창 32:24) | 야곱은 홀로 남았더니 어떤 사람이 날이 새도록 야곱과 씨름하다가 |
On his journey back to Canaan Jacob fears the encounter with his brother Esau, who awaits Jacob and his family on the other shore of a river. Jacob sends his family across but stays behind.
At night he gets into a fight with a mysterious man, probably an angel. Jacob and the angel wrestle all night, but the angel cannot win. At the break of dawn he gives up and blesses Jacob. He also gives him the honorary name Israel: one who has prevailed with God".
Jacob's hip is injured during the fight.
Rembrandt Harmensz. van Rijn 1606 – 1669
Joseph tells his dreams to Jacob
oil on paper (51 × 39 cm) — 1633
Rembrandt Harmensz. van Rijn biography
This work is linked to Genesis 37:10
| (창 37:10) | 그가 그의 꿈을 아버지와 형들에게 말하매 아버지가 그를 꾸짖고 그에게 이르되 네가 꾼 꿈이 무엇이냐 나와 네 어머니와 네 형들이 참으로 가서 땅에 엎드려 네게 절하겠느냐 |
Please scroll down to read more information about this work.
In a cosy atmosphere, with his mother Rachel sitting in bed, Joseph tells his dreams to his parents and a few of his brothers.
To his brothers the dreams were yet another reason to hate their brother: not only they but even the sun and the moon were to bow for him. His father Jacob at first rebuked him, but he silently felt the dreams might be a sign of things to come.
Rembrandt made several drawings on this subject. He may have been inspired by this engraving by Lucas van Leyden.
In this painting on paper Rembrandt used but a few colors, mostly gray and brown. The name for that technique is grisaille.
Giovan Battista Tiepolo 1696 – 1770
Hagar in the Desert
fresco — 1726 - 1729
Giovan Battista Tiepolo biography
This work is linked to Genesis 21:17
| (창 21:17) | 하나님이 그 어린 아이의 소리를 들으셨으므로 하나님의 사자가 하늘에서부터 하갈을 불러 이르시되 하갈아 무슨 일이냐 두려워하지 말라 하나님이 저기 있는 아이의 소리를 들으셨나니 |
Giovan Battista Tiepolo 1696 – 1770
Jacob's Dream
fresco — 1726 - 1729
Giovan Battista Tiepolo biography
This work is linked to Genesis 28:12
| (창 28:12) | 꿈에 본즉 사닥다리가 땅 위에 서 있는데 그 꼭대기가 하늘에 닿았고 또 본즉 하나님의 사자들이 그 위에서 오르락내리락 하고 |
Giovan Battista Tiepolo 1696 – 1770
Rachel Hides her Father's Idols
fresco (400 × 500 cm) — 1726 - 1729
Giovan Battista Tiepolo biography
This work is linked to Genesis 31:35
| (창 31:35) | 라헬이 그의 아버지에게 이르되 마침 생리가 있어 일어나서 영접할 수 없사오니 내 주는 노하지 마소서 하니라 라반이 그 드라빔을 두루 찾다가 찾아내지 못한지라 |
To compensate for a lack of dowry, Rachel takes her father's statues of familiars (terafim) when she sets out for Canaan with her husband Jacob. Her father, Laban, catches up with them and demands his possessions back. Jacob does not know what Rachel has done. Rachel is shown sitting in the saddle with the statues, claiming she cannot get up since she is menstruating.
Presumably Tiepolo used himself as a model for Jacob.
Diego Rodríguez da Silva y Velázquez 1599 – 1660
Joseph's Bloody Coat Brought to Jacob
oil on canvas (223 × 250 cm) — 1630
Monastery of El Escorial, San Lorenzo de El Escorial
Diego Rodríguez da Silva y Velázquez biography
This work is linked to Genesis 37:32
| (창 37:32) | 그의 채색옷을 보내어 그의 아버지에게로 가지고 가서 이르기를 우리가 이것을 발견하였으니 아버지 아들의 옷인가 보소서 하매 |
Jacob loved Joseph more than he loved his other children. His jealous brothers therefor decide to sell Joseph into slavery. Afterwards, they show Jacob Joseph's coat, stained with a goat's blood. They tell Jacob that Joseph was attacked by a wild animal. Jacob is shocked.
Velázquez made this painting while traveling in Italy (1629-1631).
Hugo van der Goes ca. 1440 – 1482
Rachel and Jacob
pen and wax on grey paper — ca.1470-75
This work is linked to Genesis 29:11
| (창 29:11) | 그가 라헬에게 입맞추고 소리 내어 울며 |
Jacob is travelling to his uncle Laban. on his journey he meets a group of shepherds. one of them turns out to be Rachel, Laban's attractive youngest daughter. Jacob greets her with a kiss.
Jacob falls in love with Rachel. Laban will let him marry his daughter if Jacob agrees to work for Laban for seven years. After seven years Laban indeed sends a daughter to Jacob - but it is Leah, Rachel's elder sister.
Laban claims that according to tradition he has to give away his firstborn daughter before the younger Rachel. Jacob then had to spend another seven years in Laban's service before he gets to marry Rachel.
Lucas van Leyden 1494 – 1533
Joseph tells his dreams to Jacob
engraving (126 × 165 mm) — 1512
This work is linked to Genesis 37:10
| (창 37:10) | 그가 그의 꿈을 아버지와 형들에게 말하매 아버지가 그를 꾸짖고 그에게 이르되 네가 꾼 꿈이 무엇이냐 나와 네 어머니와 네 형들이 참으로 가서 땅에 엎드려 네게 절하겠느냐 |
Joseph had dreamed that he and his brothers were working in the field and that his brothers' sheaves bowed for his sheaf. After that, he dreamed that the sun, the moon and eleven stars also bowed for him. Joseph here tells his dreams to his father Jacob. His mother Rachel and brothers are also listening.
To the left Lucas van Leyden shows the moment Joseph enters the room.
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