Erwin Speckter
Jacob Meeting Rachel, 1827, Oil on canvas, 26.4 x 35.5 cm, Hamburger Kunsthalle, Hamburg, Germany; Inv. 2722, bpk Bildagentur / Art Resource, NY
A Nourishing Union
Commentary by Belle Tindall
Erwin Speckter’s depiction of Jacob and Rachel sets them in an expansive and highly populated landscape. In this way, he suggests a crucial aspect of their meeting and subsequent betrothal: that its ramifications will go far and wide.
After unknowingly finding himself on the outskirts of the land belonging to his uncle Laban (Genesis 29:1, 4–5), Jacob encounters the shepherds of three flocks. Perhaps with this in mind, Speckter depicts a group of men gathered at the edge of the trees at the right of his composition, three of whom hold crooks. According to Genesis, they have been awaiting the arrival of a fourth flock so that the stone that covers the well can be removed and all the sheep drink. This fourth, all-important flock is tended by Rachel, who, at centre, also holds a crook, probably to show that she too is a shepherd (v.9).
The shepherds were unable to carry out their duties until Rachel arrived. But their eager expectation of her arrival (v.6) reflects a wider atmosphere of expectancy at this point in the biblical story. Rachel’s entrance is keenly anticipated by various people for various reasons. Jacob cannot continue his life without her. And we too, as followers of the larger biblical narrative of Israel’s patriarchs, are aware that this unfolding story must be on hold until she appears.
Much is contingent upon Rachel’s arrival.
Even in this very first meeting, Jacob and Rachel are forming a partnership that supplies nourishment to those around them. It is noteworthy that Genesis makes clear that the presence of both Jacob and Rachel was necessary for the water to be distributed. Rachel’s presence was required according to a societal agreement, and it seems as though Jacob’s anomalous strength (apparently a result of his dramatic reaction to Rachel’s entrance) was required to remove the stone obstructing the well (vv.9–10).
Though centred on the embracing couple, the painting depicts life-giving effects all around them. At right, as the group of shepherds rests, seven sheep drink in unison. At left, a flock feeds and frolics, while a second group of men dances and plays instruments.
This implies that sustenance for others is already flowing from Jacob and Rachel’s union, foreshadowing the impact of their betrothal, which will move far beyond the confines of these two seemingly besotted protagonists.