This work of art from Rembrandt's full-grown period was proposed for a little specific crowd who could welcome him as a painter of mentally expressive compositions. The size of the canvas is moderate, there is no landscape, and the attention is totally on the closeness existing apart from everything else. Even though the genuine character of the couple has been bantered throughout the hundreds of years, the most tenable recognizable proof is that they were the Biblical Isaac and Rebekah. Verifiably the story clarified that the patriarch Isaac imagined that Rebekah was his sister. At the same time, they lived among the Philistines, just setting out to grasp her in private for dread that the neighborhood individuals may execute him because of Rebekah's magnificence. Right-hand rest defensively and delicately to Rebekah's left side shoulder while his right hand is put on her chest with warmth instead of desire. Rebekah contacts his correct hand with her left; the daintiness of physical contact between the pair proposes a profound and adoring honesty. Their hands and faces are so expressive of true human components; the dramatization happens in the focal point of the creation. As one of Rembrandt's tenderest Biblical works of art, it is tranquil, astute, and delicate.
This is an ideal case of the representation history, which was regular during the seventeenth century Dutch Golden Age. It allowed supporters a chance to dress as scriptural figures to pressure their loyalty and devotion. Oil on canvas - Rijksmuseum, Amsterdam.