Artwork

An Old Man Seated at a Table, His Head Resting on His Right Hand (recto); The Healing of Tobit (verso)

An Old Man Seated at a Table, His Head Resting on His Right Hand (recto); The Healing of Tobit (verso) is a drawing by the Baroque artist Ferdinand Bol. It dates from 1650 and is held in the collection of the Cleveland Museum of Art.

About this work

Overview

This dual-sided drawing by Ferdinand Bol features two distinct scenes: a contemplative old man on the recto and a sketch of 'The Healing of Tobit' on the verso. Executed in ink wash, it showcases Bol's skill in capturing psychological depth through dramatic lighting, a hallmark of his training under Rembrandt van Rijn.

Subject & Meaning

The recto depicts an elderly figure, possibly a scholar or philosopher, immersed in thought within a dimly lit interior. The subject's introspection is emphasized through expressive shading, inviting reflection on the sitter's emotional state. The verso's biblical scene, 'The Healing of Tobit', contrasts in theme but aligns in demonstrating Bol's versatility.

Technique & Style

Bol utilized a controlled yet expressive ink wash technique, characteristic of Rembrandt's influence. Dramatic chiaroscuro defines the old man's portrait, with light from a window carving his features out of darkness, while the verso's sketch exhibits a quicker, more spontaneous approach.

History & Provenance

Created during Bol's time in Rembrandt's studio, this drawing is part of a series of similar works (at least 2 paintings, 10 drawings, 4 etchings) by Bol exploring themes of solitude and introspection. The verso references Rembrandt's 'Tobit Healing his Father’s Blindness' (1640–45, CMA 1969.69).

Context

This work reflects the 17th-century Dutch artistic emphasis on light and shadow (chiaroscuro) and the common practice of artists working on both religious and secular themes. The dual composition highlights the fluidity between different subjects in an artist's creative process.

Legacy

While the specific legacy of this drawing is not broadly highlighted in the provided facts, it contributes to the broader appreciation of Bol's mastery of Rembrandt's teachings and the enduring influence of chiaroscuro in Western art.