Artwork

Copy after the painting Isaac rejecting Esau attributed to the Isaac Master in the Upper Church, San Francesco, Assisi.

Copy after the painting Isaac rejecting Esau attributed to the Isaac Master in the Upper Church, San Francesco, Assisi. is a watercolor work on paper by the Impressionist artist Edward Kaiser. It dates from 1876 and is held in the collection of the Victoria and Albert Museum.

About this work

Overview

This watercolour painting is a 1876 copy by Edward Kaiser of the fresco *Isaac rejecting Esau*, attributed to the Isaac Master, originally located in the Upper Church of San Francesco, Assisi. The piece is marked with the artist's name and 'COP.' in ink.

Subject & Meaning

Two standing figures, one in blue and gold and the other in red and white, face him, each holding an object and expressing seriousness.

The scene depicts a pivotal moment from biblical narrative with three figures in a grand, balconied room. Isaac, identifiable by his golden halo, sits on a red couch in a long yellow robe, holding a scroll. Two standing figures, one in blue and gold and the other in red and white, face him, each holding an object and expressing seriousness. Their calm yet tense facial expressions and poses suggest a narrative of importance, potentially the moment Isaac rejects Esau, as indicated by the original fresco's title.

Technique & Style

Executed in watercolour, the painting exhibits faded colors and a worn appearance, consistent with its age. The composition includes a faded cityscape backdrop with towers and figures, adding depth. The artist's use of colour (e.g., yellow, blue, gold, red) and the attention to the figures' emotional states reflect a thoughtful interpretation of the original fresco.

History & Provenance

Created in 1876 for the Arundel Society, the watercolour was later exhibited at the Victoria and Albert Museum in London from October 1996 to March 1997. There is no recorded publication of this specific copy.

Context

As a copy of a religious fresco from Assisi's Upper Church, this work connects to the broader tradition of replicating revered artworks for study, preservation, or dissemination. Its creation for the Arundel Society, dedicated to promoting British art and reproducing foreign masterpieces, situates it within 19th-century artistic and cultural exchange.

Legacy

While this copy has not been published, its exhibition at the Victoria and Albert Museum indicates recognition of its value, potentially as a record of the original fresco's state or as an example of 19th-century copying techniques. Its legacy may also lie in its contribution to the Arundel Society's goals.