Jacob and Rebecca before Isaac [recto] c. early 18th century

This drawing, "Jacob and Rebecca before Isaac," uses brown ink and wash on paper. The composition is immediately striking for its division between sharply defined figures on the left and ghostly, unfinished sketches on the right. Notice how the artist employs a rich brown wash to model the forms of Isaac in his bed, Jacob kneeling before him, and Rebecca standing behind. These figures are dynamic, their gestures and expressions rendered with a tangible sense of weight and volume. This contrasts sharply with the right side of the drawing, where a flurry of lighter strokes outlines figures and objects that remain unresolved. The use of hatching creates depth and shadow, particularly in the drapery, enhancing the scene's drama. This contrast may destabilize our expectations, suggesting a meditation on visibility, presence, and the very act of creation. How do these formal elements challenge fixed meanings and invite new perspectives on representation?