Who painted Isaak segnet Jakob?

Isaak segnet Jakob was painted by Johann Carl Loth in 1665.

Where can I see Isaak segnet Jakob?

Isaak segnet Jakob is held by Bavarian State Painting Collections.

What movement is Isaak segnet Jakob?

Isaak segnet Jakob is associated with Barbizon school.

Artwork

Isaak segnet Jakob

Johann Carl Loth , 1665

Isaak segnet Jakob is an unspecified painting by the Barbizon school artist Johann Carl Loth. It dates from 1665 and is held in the collection of the Bavarian State Painting Collections.

About this work

Overview

The composition centers on Isaac, seated and shirtless, his hands clasped in a gesture of solemn invocation.

Johann Carl Loth's 'Isaak segnet Jakob' (1665) depicts the biblical moment from Genesis 27 where the blind patriarch Isaac blesses his son Jacob, who has disguised himself to receive the blessing intended for Esau. The composition centers on Isaac, seated and shirtless, his hands clasped in a gesture of solemn invocation. Jacob lies prostrate at the left, gazing upward with an expression of anticipation, while Rebecca stands behind Isaac, her hand resting on his shoulder as she guides the deception. Loth employs a dramatic chiaroscuro technique, characteristic of his Italian Baroque training, where deep shadows envelop the background to isolate the figures in a pool of intense light. This lighting accentuates the textures of skin and fabric, heightening the emotional gravity of the scene. Painted in 1665, during Loth's mature period after his return to Germany from Venice, the work exemplifies his synthesis of Venetian colorism and German narrative rigor. The painting reflects the artist's ability to convey psychological tension through physical proximity and stark lighting contrasts, securing his reputation as a leading figure in 17th-century German religious art.

Subject & Meaning

The central figure, a shirtless, bearded man, occupies the middle of the scene, his hands joined in a gesture of supplication. A woman in dark attire leans forward, her hand resting on his shoulder, while a young boy lies on the floor, gazing upward. The grouping evokes themes of intercession, familial devotion, or a biblical narrative of mercy and protection.

Technique & Style

Loth employs a pronounced chiaroscuro, contrasting deep shadows with sharply illuminated highlights to model the bodies and create a dramatic spatial depth. The stark lighting isolates each figure, emphasizing their emotional states and reinforcing the solemn atmosphere typical of mid‑Seventeenth‑century Baroque religious painting.

History & Provenance

Created in 1665, the work entered the collection of the Alte Pinakothek, one of Germany’s foremost art museums, where it remains part of the permanent display. Its provenance prior to acquisition by the museum is not extensively documented, but the painting has been recognized as a representative example of Loth’s mature Baroque period.