Jozef verkocht aan de Ismaëlieten by Sisto Badalocchio

Jozef verkocht aan de Ismaëlieten 1607

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drawing, print, paper, ink, engraving

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pencil drawn

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drawing

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light pencil work

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narrative-art

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baroque

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print

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pen sketch

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pencil sketch

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figuration

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paper

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personal sketchbook

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ink

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sketchwork

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pen-ink sketch

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line

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sketchbook drawing

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pencil work

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history-painting

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sketchbook art

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engraving

Dimensions: height 130 mm, width 177 mm

Copyright: Rijks Museum: Open Domain

Curator: Sisto Badalocchio's 1607 engraving, "Joseph Sold to the Ishmaelites," offers a fascinating visual narrative from the Book of Genesis. Editor: The density of the figures struck me first – how they are so compactly arranged yet convey this emotional breadth of betrayal and transaction. It almost feels claustrophobic. Curator: Indeed, and that compositional density reinforces the psychological tension. Badalocchio chooses to depict the moment of exchange, with Joseph, seemingly offered for a price to the merchants. Editor: There is the use of line to model form; see how the density and direction of lines are employed to express musculature, tension, and fabric, revealing his virtuosity. Curator: And these Ishmaelites themselves—depicted with camels laden with goods—represent not just traders, but a conduit for Joseph's fate. The camel as a beast of burden is often symbolic of journeys or bearing the weight of fate. Editor: Looking at the arrangement, I see that the faces of Joseph's brothers are turned away from him – their denial amplified by the stark, empty pit in the foreground. Curator: Yes, that open pit is a powerful abyss – a void representing their lack of remorse but also suggesting Joseph’s potential oblivion and what he has escaped. Badalocchio manages to make tangible something usually conceptual. Editor: There’s a beautiful tension in the way the light and shadow play across the surface, adding another layer of psychological depth to this drama unfolding on a modest-sized paper. Curator: Absolutely. In studying the scene we have here, we must consider the historical interpretations which assign this to a timeless commentary on treachery and divine intervention through human choices. Editor: So, in the end, we’re left to reflect not only on skillful craftsmanship, but on a timeless saga, reduced to masterful line work, that speaks volumes about the human condition. Curator: An economic assessment in art with an underlying, eternal cultural narrative about sibling treachery – captured forever.

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