In another Old Testament scene, Joseph, who has become a fruitful boss counselor to the pharaoh of Egypt, carries his two children to their practically visually impaired granddad Jacob on his deathbed to get the family favor. Albeit as per convention, the oldest child ought to be honored first with the old patriarch's hand, Jacob purposely puts his correct hand on the leader of the more youthful, blond, and increasingly celestial child. Jacob, evidently guided by God, could anticipate that the younger child would be a more noteworthy individual. The kids' honest Egyptian mother Asenath looks on during the serious, however delicate family minute.
The dark draperies are demonstrated attracted aside to allow the watcher to watch the personal scene, lit up from the left in brilliant cream tones. Joseph's correct hand and the kids mark the focal point of the synthesis; however, our eyes are additionally guided by the diagonals of the red cover, the brilliant hide shawl, and the faces which are engaged upon the focal activity. The paint is applied rapidly, thickly, or meagerly relying on what amount is expected to pull in the light and the watcher.
Rembrandt's mark can be found in the lower left of the artwork with the date 1656. His act of marking his work with his first name, later followed by Vincent van Gogh, was most likely enlivened by Raphael, Leonardo da Vinci, and Michelangelo, who at that point, as now, was alluded to by their first names as it were. Rembrandt's Biblical canvases from this developing period are frequently referred to as his most stunning works. Oil on Canvas - Schloss Wilhelmshone, Kassel, Hesse, Germany.