Despair and Deliverance

Throughout western art history, several artists have depicted the life of Hagar, an Egyptian slave found in the Bible’s Old Testament. This subject was covered frequently in the 17^th century and returned in the 19^th century, most notably with the success of Corot’s Hagar in the Wilderness at the Salon of 1835. Most commonly depicted throughout these works are scenes from Genesis 21:8-21. In this passage, Hagar was dismissed by her master, Abraham, and cast into the wilderness with her son, Ishmael. In the midst of her distress over her son’s plight, Hagar was seen by God, and he sent an angel to deliver her. Deliverance arrived in the midst of her despair. Each piece in this collection details various points in the narrative of Hagar and Ishmael, two figures on the margins of society. These works reflect the tension between the despair and coming deliverance woven throughout Hagar’s story. The depiction of the desert setting greatly differs across these pieces, but details such as body language, light, and color are regularly used to draw the viewer’s attention to Hagar’s emotion in each scene. These detailed methods reflect overwhelming despair, hints of deliverance, and a frequent tension between the two. 

Barent Fabritius, Abraham Dismissing Hagar and Ishmael, 1658, oil on wood, 1976.100.23

This first piece reflects an overwhelming sense of hopelessness and despair, amplified by the scene’s muted colors and Hagar’s body language. The darkened colors and limited light depict a gloomy scene and illustrate the bleakness of the situation. Hagar’s posture and expression embody her deep sorrow, meant to elicit sympathy for her plight. She weeps and clings to Abraham even as he gestures for her to depart. Hope is nowhere to be found in this desolate scene.  

Camille Corot, Hagar in the Wilderness, 1835, oil on canvas, 38.64

Although this scene appears brighter than the first, Hagar and Ishmael reside in the darkest portion of the canvas, highlighting Hagar’s desperation. They are swallowed by the vastness of their desolate surroundings, further indicating the hopelessness of their situation. Hagar gestures in despair beside her languid son. Yet in the midst of her distress, an angel appears on the horizon. This angel provides a hint of hope in the midst of despair, creating a tension between the two themes. 
Marc Chagall, Hagar in the Desert, 1960, lithography and paper, Davidson Galleries

Chagall’s use of color, body position and facial expressions communicate the despair of Hagar’s situation. Limited colors are used to differentiate the figures from their wilderness surroundings. Hagar sits hunched in a curved position as she holds her son, highlighting the uncomfortable nature of their situation. The figures' faces are downcast, indicating their sorrow over their plight. Although an angel draws near, it remains just out of sight for the desolate Hagar, reflecting further tension between hope and despair. 
Claude Lorrain, Hagar and Ismael in the Desert, 1668, oil on canvas, Altre Pinakothek

Once again, Hagar and Ishmael are depicted as much smaller than their surroundings. They are swallowed by the bleakness of the situation. Darker, muted colors encompass the lower portion of the painting in which the key figures reside. Although Hagar is distinguishable, her dress nearly blends in with the surrounding gloomy colors. These muted colors reflect the despair of the situation, but allow the brighter blue of the angel to stand out all the more, highlighting the hope of deliverance. 
Nicholas Colombel, Hagar in the Desert, 1680-1685, oil on canvas, Museum of Fine Arts Budapest 

Brighter colors and light encompass the majority of the canvas, signaling a shift in the storyline. The angel has arrived, casting out despair and bringing hope of salvation. The wilderness contains more overgrowth and vegetation in this scene, hinting at a nearby life source, water. Nevertheless, hope and desperation remain in tension. Ishmael remains cloaked in shadow off to the side, and Hagar’s desperate gestures toward her son indicate the scene’s lingering uncertainty and despair.
Christoffer Wilhelm Eckersberg, Hagar and Ishmael in the Desert, 1812, oil on canvas, The Nivaagaard Collection

In comparison to the first piece, this painting reflects only hope. The bright, crisp colors and lighting contrast greatly with previous depictions, suggesting a turning page for Hagar and Ishmael. No longer are they enveloped by their shadowy surroundings; this lighting suggests renewed hope. The desert is portrayed as lush and full of life, rather than dry and arid. A nearby stream provides an abundance of water. The drastic changes revealed through this depiction indicate the resolution of the tension between despair and hope. At last, hope has prevailed.