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Lot Essay
The Old Testament book of Esther, from which the present scene is drawn, was a particular source of inspiration for Dutch artists of the period. Esther, a Jewish orphan, raised by her cousin Mordechai, married King Ahasuerus, who was unaware of her origins. Haman, the King's chief minister, who is an enemy of the Jews and personal foe of Mordechai persuades the King to order the massacre of the Jews throughout his empire. After Esther intercedes, the King relents and orders Hamman's execution on the gallows prepared for Mordechai.
The composition is in two clearly marked planes. The two protagonists are set against the dark architectural foil of a massive arched gateway and a distant vista of classical architecture. Placed in front of Mordechai Haman assumes a dominant position, but he is shown in a state of puzzled humiliation, his plans now disastrously turned upside down. They are surrounded by a crowd who do obeisance to Mordechai who appears splendidly unsurprised by the turn of events.
The architecture is carefully designed so that Mordechai is silhouetted against the background, while the line of the arch at the left clearly marks the position of Haman.
The way in which the figures are integrated with the architecture has much in common with the Night Watch of the following year, and the etching can be seen as a stage in the painting's development. Both use the device of the foreground being in full light, and the middle ground being in shadow, and in both does the main protagonist come out of the picture towards the viewer.
Rembrandt adds a touch of his own: in this scene, unlike most other treatments, the King and Queen seated are in a balcony at the right. The royal couple bear a strong resemblance to Rembrandt and Saskia.
The composition is in two clearly marked planes. The two protagonists are set against the dark architectural foil of a massive arched gateway and a distant vista of classical architecture. Placed in front of Mordechai Haman assumes a dominant position, but he is shown in a state of puzzled humiliation, his plans now disastrously turned upside down. They are surrounded by a crowd who do obeisance to Mordechai who appears splendidly unsurprised by the turn of events.
The architecture is carefully designed so that Mordechai is silhouetted against the background, while the line of the arch at the left clearly marks the position of Haman.
The way in which the figures are integrated with the architecture has much in common with the Night Watch of the following year, and the etching can be seen as a stage in the painting's development. Both use the device of the foreground being in full light, and the middle ground being in shadow, and in both does the main protagonist come out of the picture towards the viewer.
Rembrandt adds a touch of his own: in this scene, unlike most other treatments, the King and Queen seated are in a balcony at the right. The royal couple bear a strong resemblance to Rembrandt and Saskia.