Abraham casting out Hagar and Ishmael.

During his lifetime, Rembrandt's extraordinary skills as a printmaker were the main source of his international fame. Unlike his oil paintings, prints travelled light and were relatively cheap. For this reason, they soon became very popular with collectors not only within, but also beyond the borders of the Netherlands. It also explains why, in later centuries, they were affordable for Bishop Ditlev Monrad, who donated this example to the Colonial Museum in 1869, and to Sir John Ilott, who donated 39 Rembrandt prints to the National Art Gallery.

The theme depicted is a famous Old Testament story (Genesis 21-14). Abraham's wife, Sarah, is angry that Hagar, his second wife and mother of Ishmael, have both been mocking her and Sarah's very young son, Isaac. She demands their banishment into the wilderness of Beersheba, and Abraham complies: 'The matter distressed Abraham greatly, for it concerned his son. And Abraham rose up early in the morning, and took bread, and a skin of water, and gave them to Hagar. He placed them over her shoulder, together with the child, and sent her away.'

Rembrandt's etching of the banishment of Hagar and Ishmael reflects the dynamic between the participants involved. The imposing figure of Abraham is given centre stage. Abraham's body is interposed between the two families who are to be fatefully separated. Sarah will remain in the house of Abraham with her son Isaac (barely visible, sheltering in the doorway). Their gloating facial expressions are a telling indicator that Sarah has succeeded in her demands.

Abraham's body language exhibits his ambivalence. The weight of his body is balanced on his left foot, towards Hagar and his first-born son Ishmael. Yet his right foot draws him back into the house. His left hand reaches out, perhaps to bless the departing woman and child, but unable to do more than grasp at air since they have already begun their journey. Rembrandt demonstrably portrays Hagar's pain. Her weeping is made audible through the blowing of her nose, altough the damage to this impression compromises this. Rembrandt also evokes the pity of the viewer by transforming Ishmael, who in the biblical narrative is at least 13 years old, into a little boy, his back turned to the viewer. The family dog, oblivious to the tragedy, appears to be cheerfully following the banished pair.

Note how Rembrandt has slung a quiver of arrows over the boy's back. This seemingly refers to Genesis 21-20, which describes Ishmael as growing up to become a skilful bowman in the wilderness. Through this detail, perhaps Rembrandt has subtly explained the motivation behind the banishment of Ishmael, hinting at his violent tendencies and his destiny to forever be at odds with his kinsmen.

This impression is from the only state of the etching. Unfortunately, it is severely damaged, with the right-hand side of the image having suffered major losses.

References: New Hollstein Dutch 166, only state; Hollstein Dutch 30, only state

See: Center for online Judaic Studies, http://cojs.org/abraham_casting_out_hagar_and_ishmael-_rembrandt_-1606-1669/

Dr Mark Stocker    Curator, Historical International Art      September 2017