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Haman of Jozef

Nijstad, S

Oud-Holland, 1971, Vol.86 (1), p.32-42 [Periódico revisado por pares]

The Netherlands: BRILL

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  • Título:
    Haman of Jozef
  • Autor: Nijstad, S
  • É parte de: Oud-Holland, 1971, Vol.86 (1), p.32-42
  • Notas: ark:/67375/JKT-Q2G13JP6-T
    istex:D448D05B1A4C725331AABA74A8DD86F346A0D3AF
    href:18750176_086_01_s004_text.pdf
  • Descrição: Since 1772 Rembrandt's painting in Leningrad has been interpreted as The Condemnation of Haman or Haman in Disgrace. Apart from the fact, however, that this tradition has not been traced back any further than 1772, there are a number of points for which no adequate explanation has yet been offered: 1. Why should Rembrandt have given one of the greatest enemies of the Jews such an important place and such sympathetic treatment in a painting like this, when he normally depicts such a person in an inferior position of humiliation? 2. What is the significance of the table as a central element in the picture? 3. How does one account for the importance of the man on the near side of the table and the lesser importance of the man with a crown on the right? 4. Who is the quiet, old man on the left? 5. Why should the central figure be beardless, in contrast to the others? A more satisfactory interpretation that would seem to account for these points would be to take the central figure to represent Joseph as Viceroy of Egypt, at the time when his brothers came to buy corn. This would certainly explain his youthful appearance and lack of a beard. Rembrandt never painted Haman thus, but he did depict Jopeph as beardless, in contrast to Jacob, in Jacob Blessing the Sons of Joseph at Kassel In fact Hebrews always grew beards, but as an Egyptian official Joseph would not have been able to. It would also explain the presence of the table, for without the table the three men would have appeared to form a group, whereas its inclusion serves to underline the fact that Joseph, having spoken to (not with) the other two, is turning away to go and weep in his chamber in order not to reveal his emotions. In other words, the table is just as important a feature in the composition as it is in the Claudius Civilis. The other two figures, behind the table, can be interpreted as two of Joseph's brothers: on the left, Rueben, the eldest, who had originally intended to save Joseph from the pit; and on the right, Judah, the king. Mindful of recent bad experiences they are waiting anxiously to see what the strange, unpredictable Viceroy will do next. The positions they occupy agree with those in the Jewish story of the table arrangements (Note 17), which Rembrandt may have known: 'Judah, who is a king, must be seated at the head of the table, Reuben as firstborn next to him, etc.' Rembrandt may also have known that when the Biblical story of Joseph is read out in the synagogue once a year on a Sabbath, it is always followed by a reading from Ezekiel which refers to 'the reunion of the two kingdoms of Judah and Joseph'. But where are the other brothers? Rembrandt may have concentrated on the main protagonists to the exclusion of all others, the omission of anything extraneous to the main theme being one of the principal characteristics of his late style. In addition to the Bible and Jewish sources, Rembrandt may also have drawn on Dutch literature for inspiration: versions of the story of Joseph by Hugo de Groot (1633-1634) and Vondel (1635-1640) were very popular in his day, and there were plays on the theme, including a 16th-century Rhetoricians' play, which contains as a stage-direction in the margin: 'Joseph turns away,' and a trilogy of 1639 by Jan Tonnis, which also contains a relevant stage-direction: 'Psontonphanechus, turned in on his own thoughts (in zichzelf gekeerd), goes away to weep in private', as well as a note to the effect that ' two tables are to be arranged on the stage'. In 1685 Aert de Gelder painted Joseph weeping in his chamber. His Joseph, just like the one in the Leningrad picture, has his hand in his belt, wears a turban with a feather and is beardless. Moreover the same figure occurs in another painting by De Gelder along with a kneeling Judah who, by contrast, is bearded. The heavy curtains in this painting might even indicate that it was inspired by theatrical performances. Whether or not the Leningrad picture is by Rembrandt or a pupil is uncertain. And in any case it appears to have been cut down, though we do not know by how much. Nevertheless it seems clear, that it is intended to depict the moving story of Joseph in Egypt.
  • Editor: The Netherlands: BRILL
  • Idioma: Inglês;Holandês
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