drawing, print, etching
drawing
narrative-art
baroque
etching
figuration
history-painting
Dimensions: 4 1/16 x 6 1/16 in. (10.3 x 15.4 cm) (plate)
Copyright: Public Domain
Rembrandt van Rijn made this etching depicting the Angel Departing from the Family of Tobias in the Dutch Republic, sometime in the mid-17th century. The image represents a scene from the Book of Tobit, a deuterocanonical text, excluded from the Hebrew Bible, but included in the Septuagint and Christian Old Testament. Rembrandt was part of a culture in which biblical literacy was widespread, so we might assume that many of his viewers would have recognised this subject. But why did he choose this subject? As a Protestant artist in a newly formed republic, Rembrandt's choice of a Catholic-leaning text might be viewed as a commentary on the religious tensions of the time. What's more, this particular story focuses on familial piety and the rewards of faith. Perhaps Rembrandt was interested in promoting these values in a society undergoing rapid social and political change. To understand Rembrandt's choices, one could consult theological texts, historical accounts of the Dutch Republic, and of course, other artworks of the time. By placing the artwork in its specific social and institutional context, we can gain a richer understanding of its meanings and significance.
Comments
With Tobias safely home, the debt retrieved, and Tobit's eyesight restored, Raphael's mission is complete. He finally reveals his identity as he departs in a freely sketched flurry of clouds and drapery. Endowed with spiritual perception, only Tobit—and his wife, Anna—witness his departure, which so startles Anna that she drops her cane. In the Bible, just father and son are present at the leave-taking, but Rembrandt assembled the entire household, displaying his fondness for down-to-earth domesticity. Also taking leave is Tobias's dog, said to be the only dog given a specific role in the Bible.
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