Rembrandt van Rijn
Jacob blesses Ephraim and Manasseh, 1656, Oil on canvas, 173 x 209 cm, Gemäldegalerie Alte Meister, Schloss Wilhelmshöhe, Kassel; Museumslandschaft Hessen Kassel, GK 249, bpk Bildagentur / Gemäldegalerie Alte Meister / Art Resource, NY
A Better Blessing
Commentary by David Brown
What excites about this painting is its lack of conventionality. Protestant art, as much as Catholic, used the symbolism of Jacob’s crossed hands in this biblical episode as its interpretative key, and as such often made his gesture their central feature (as in the work of Maarten van Heemskerck in the previous century).
Some commentators insist that Rembrandt van Rijn, while ignoring this symbolism, merely introduces the same point in a new way. Ephraim is given golden hair with a halo in contrast to Manasseh’s darker looks and hair. This could suggest that the great blessing goes to the more Caucasian-looking son and the lesser to the more Semitic-looking one. But perhaps no more is at stake here than the need to mark some differences between the two children.
More interesting in any case is Rembrandt’s introduction of Joseph’s Egyptian wife, Asenath. Not only does she display a typical motherly concern with what is happening; her expression almost suggests approval, and so appears in marked contrast to her husband’s reaction, as he attempts to move Jacob’s right hand back to Manasseh.
For this introduction of a maternal Asenath, there is no legitimation in the text itself—though Rembrandt was no doubt inspired by increasing stress on the family in the culture of his time as also by his own personal experience. After the death of his beloved wife, Saskia, in 1642, he had fraught relations with his mistress Geertje Dircx which ultimately led to bankruptcy in 1655 and worries about the future of his son, Titus.
But perhaps a greater influence may have been a desire to draw a contrast between this moment and an earlier blessing in the Bible’s patriarchal narrative: a blessing not by Jacob, but of him. With the help of his mother, Rebecca, who disguised his smoothness with goatskins, the young Jacob had tricked his father Isaac into giving him the blessing that properly belonged to Isaac’s first-born son Esau.
Unlike Rebecca, Asenath is here a picture of innocence, with no connection to the animal skin that drapes round Jacob’s neck and which had been the means of the earlier deception (Genesis 27:1–38).
References
Bikker, Jonathan et al. (eds). 2014. Rembrandt: The Late Works (London: The National Gallery), 259