Metropolitan Museum: part 2 – Barent Fabritius - Abraham Dismissing Hagar and Ishmael
Barent Fabritius: Dutch, Middenbeemster 1624–1673 Amsterdam 1658; Oil on wood; 19 1/2 x 14 in. (49.5 x 35.6 cm)
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The artist has skillfully employed chiaroscuro to direct attention and evoke emotional depth. The figures are illuminated by a soft, diffused light that highlights their faces and emphasizes the texture of their clothing, while leaving much of the surrounding landscape in shadow. This contrast intensifies the drama of the moment and creates a sense of intimacy between the viewer and the subjects.
The background is dominated by a sweeping vista of rolling hills and distant mountains, rendered with a muted palette that contributes to the overall atmosphere of quiet contemplation. A scattering of birds in the sky adds a touch of naturalism and perhaps hints at freedom or departure. The dense foliage on the left side of the painting frames the figures, drawing the eye inward and reinforcing their isolation within this expansive setting.
Subtleties within the work suggest layers of meaning beyond the immediate narrative. The woman’s embrace appears less forceful than supplicating, hinting at a power dynamic that extends beyond simple familial affection. The boys posture, while seemingly passive, could be interpreted as a nascent display of resilience or defiance in the face of abandonment. The presence of the waterskin is significant; it represents not only sustenance but also the precariousness of survival and the uncertainty of the future for those being cast out.
The painting’s emotional resonance lies in its depiction of loss, duty, and the complexities of human relationships. It explores themes of exile and compassion with a nuanced understanding of both individual suffering and divine will. The artist has not merely illustrated a biblical episode; he has captured a universal moment of sorrowful parting, rendered with profound psychological insight.