Abraham dismissing Hagar and Ishmael

The painting features characteristic Dutch Golden Age techniques, with thick, textured brushstrokes, particularly evident on the clothing. Rembrandt's hallmark use of chiaroscuro is present, employing soft light to illuminate the faces of the figures against a dark, shadowy backdrop.

First documented in 1671, the painting was initially attributed to 'a disciple of Rembrandt'. By 1973, its status as an autograph Rembrandt work was challenged. The Rembrandt Research Project (1989) suggested it might be a workshop piece, potentially by Ferdinand Bol, a known student of Rembrandt.

Created during 'Holland's Golden Age', the painting reflects the artistic practices of the time, including the operation of large workshops where students like Ferdinand Bol would produce works under the master's influence. The piece's style and themes are consistent with the period's emphasis on emotional depth and biblical narratives.

Despite the uncertainty surrounding its authorship, the painting remains a significant example of 17th-century Dutch art, illustrating the themes and techniques prevalent during Rembrandt's era. Its connection to Rembrandt's confirmed works, such as the 1637 etching, underscores its value within the broader context of Golden Age art.