Name: 305. Rembrandt Van Rijn, A Jewish Heroine From The Hebrew Bible, 1632-33 by The Jewish Museum in The Book of Esther in the Age of Rembrandt
Duration: 2 min 2 s
Description: Art Historian Stephanie Dickey guides us through a close exploration of this painting

The Book of Esther is among the final stories of the Hebrew Bible, known as the “Old Testament” in Christian tradition. The story takes place after the Jewish people were exiled from ancient Israel by the Babylonian conquest in 587 BCE. It is set in the city of Susa (Shushan), the capital of Persia (present-day Shush, Iran) and the seat of King Ahasuerus, the ruler of a sprawling empire that encompassed 127 provinces from India to Nubia.

After several drunken feasts, Ahasuerus dismisses his first wife, Vashti, and stages a beauty pageant in search of a new queen, ultimately choosing Esther. Unbeknownst to Ahasuerus, Esther is Jewish. In the dramatic tale that unfolds, Esther’s cousin Mordecai comes before the king’s adviser, Haman, but refuses to bow to him, an action that would have violated Jewish law. Angered by Mordecai’s actions, Haman devises a scheme to kill the Jewish people, convincing Ahasuerus to quickly issue the decree. In this moment of uncertainty, Queen Esther requests that Mordecai gather the Jewish community to fast as a rallying cry. Urged to intervene by Mordecai, she risks her life by going before her husband, King Ahasuerus, uninvited. Esther requests that he attend a banquet, at which she reveals her Jewish identity to overturn Haman’s plot. Ahasuerus, outraged with his adviser for threatening his wife and her people, orders Haman hanged on the gallows that were meant for Mordecai. To commemorate their safe deliverance, Esther and Mordecai proclaim an annual celebration—the holiday of Purim.

The unpredictable actions of the story’s beginning are mirrored in its ending. Although Ahasuerus regrets calling for the annihilation of the Jews, he cannot retract his own law. He instead authorizes the Jews to battle against Haman’s Persian army. The reversals of fortune in the story emphasize the fickleness of Ahasuerus and the precarious position of the Jewish people in his empire.

The Book of Esther in the Age of Rembrandt

Art Historian Stephanie Dickey guides us through a close exploration of this painting

305. Rembrandt Van Rijn, A Jewish Heroine From The Hebrew Bible, 1632-33

Curator Michele Frederick explains what it means for Elizabeth Stuart to be represented as Esther

304. Gerrit Van Honthorst, Elizabeth Stuart as Esther, c. 1632

Curator Abigail Rapoport describes the multilayered meanings behind the creation of this lamp

303. Jan Theunis Dextra, Hanging Sabbath/Festival Lamp, 18th century

Curator Abigail Rapoport introduces us to the key characters in the Purim story

302. Salom Italia, Esther Scroll, 1640s

Curator Abigail Rapoport and Art Historian Stephanie Dickey explain the significance of Esther’s expression

301. Rembrandt Van Rijn, The Great Jewish Bride (Probably Esther), 1635

James S. Snyder, Helen Goldsmith Menschel Director welcomes you to the exhibition

300. Introduction

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305. Rembrandt Van Rijn, A Jewish Heroine From The Hebrew Bible, 1632-33

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