Who painted Isaak segnet Jakob?

Isaak segnet Jakob was painted by Carlo Cignani in 1673.

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 High Baroque Italian.

Artwork

Isaak segnet Jakob

Carlo Cignani , 1673

Isaak segnet Jakob is an unspecified painting by the High Baroque Italian artist Carlo Cignani. It dates from 1673 and is held in the collection of the Bavarian State Painting Collections.

About this work

Overview

Carlo Cignani’s 1673 canvas, titled Isaac Blesses Jacob, belongs to the High Baroque era and is part of the Alte Pinakothek’s holdings. The work presents a quiet, intimate moment from the Genesis narrative, rendered with a restrained emotional tone that marks a shift in Cignani’s mature period.

Subject & Meaning

The composition captures the biblical episode in which Isaac, an elderly patriarch, bestows his blessing upon his son Jacob. The scene is staged with three figures: Isaac seated, a kneeling Jacob reaching for his father’s hand, and a second woman, likely Rebekah, standing behind, offering support. The gesture emphasizes familial continuity and the transfer of authority.

Technique & Style

Cignani employs a pronounced chiaroscuro, using a focused light source to isolate the figures against a darkened interior. The illumination highlights the textures of cloth and flesh, while the surrounding shadows create a sense of depth and introspection. The overall palette is muted, reinforcing the painting’s contemplative mood.

History & Provenance

Executed in 1673, the painting reflects Cignani’s move away from the vigorous Bolognese classicism of his early career toward a softer, more reflective approach. It later entered the collection of the Alte Pinakothek, where it remains on display as a representative example of the artist’s later output.

Context

Cignani’s treatment anticipates the lyrical softness later associated with Guido Reni and Guercino, positioning him as a transitional figure within Italian Baroque painting. By tempering the dramatic vigor of his predecessors, he contributed to a broader shift toward more intimate, emotionally subdued religious imagery in the late 17th century.