Bartolomé Esteban Murillo
Jacob Laying Peeled Rods before the Flocks of Laban , 1665, Oil on canvas, 222.9 x 360.7 cm, Meadows Museum, Southern Methodist University, Dallas; Algur H. Meadows Collection, MM.67.27, Photo: Kevin Todora, Courtesy of Meadows Museum, SMU, Dallas
Ewes Drinking Paint and Immersed Viewers
Commentary by François Quiviger and Agata Paluch
In various ancient traditions, the belief that images could affect generation led to their introduction in husbandry. Isidore of Seville's Etymologies (12.1.58–60), after quoting the example of ewes watching the reflection in water of handsome rams mounting them, mentions mares being shown images of stallions, and doves surrounded by depictions of the most beautiful specimens of their kind.
According to Bartolomé Murillo’s first biographer, the picture of Jacob Laying Peeled Rods before the Flock of Laban was part of a five-work cycle representing the story of Jacob, along with The Blessing of Jacob, The Dream of the Ladder, The Search for the Idols, and Jacob Meeting Rachel.
These last four subjects feature frequently in Jacob cycles, but the episode of the peeling of the rods is rarely illustrated. A mosaic at Santa Maria Maggiore, two Byzantine manuscripts, one Bible Historiale (c.1400–25), as well as one set of early sixteenth-century tapestries attributed to Barend van Orley, comprise more or less all known earlier representations. Nothing in Murillo’s painting suggests awareness of these distant antecedents, and the personal relevance of the Jacob story to members of the Manrique-Santiago family, who commissioned the cycle, is unclear.
Unlike earlier artists who situated the flock horizontally across the width of the composition, Murillo has arranged the animals in the borders of the image. And Jacob’s rods—dotted or striped in appearance after his partial peeling of them—line the bottom of the composition. Water is placed between them and the viewer.
Murillo has depicted the rods in two aspects, when dry, and when immersed. As the eye moves from right to left, the rods lose their defined shape as they enter the ‘runnels’ (v.38) and become instead floating dots of irregular brushstrokes, mimicking the visual distortion of objects in water. It becomes as though the animals are looking at, and drinking, the painting itself.
One distinctive feature of Murillo’s ‘Jacob cycle’ is its large size, which is comparable to that of a tapestry. Old Testament subjects in seventeenth-century Seville were frequently depicted as landscapes-with-figures (indeed, this picture has often been praised as a ‘mere’ landscape). This green and lush universe—totally unrelated to the dry and rocky landscape of Andalusia—thus offers an immersive experience; one in which the spectator mirrors the animals on the other side of the water—drinking in the transformative power of painting.
References
Barney, Stephen A., W.J. Lewis, J. A. Beach, et al. (trans.). 2006. The Etymologies of Isidore of Seville (Cambridge: Cambridge University Press)
‘The Index of Medieval Art’ <https://theindex.princeton.edu/> [accessed 15 March 2022]
Mulcahy, Rosemarie. 1993.‘“The Meeting of Jacob and Rachel”: Murillo’s “Jacob” Cycle Complete’, The Burlington Magazine 135.1079: 73–80
Palomino de Castro y Velasco, Antonio, and Nina A. Mallory. 1987. Lives of the Eminent Spanish Painters and Sculptors (Cambridge: Cambridge University Press)