Tobias and the Angel, previewed as a 20 by 16 inch giclée reproduction.

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Francesco Guardi

Italian, 1712–1793

Tobias and the Angel1750s

oil on canvas

Framed: 70.5 x 90.5 x 6.5 cm (27 3/4 x 35 5/8 x 2 9/16 in.); Unframed: 56.5 x 75.5 cm (22 1/4 x 29 3/4 in.)

Courtesy of the Cleveland Museum of Art · 1952.235.2

This series of paintings predominantly tells the Old Testament story of Abraham and Isaac, and each of the canvases treats the interaction of humans and angels. More about this work

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Format

Archival pigment inks on Hahnemühle Photo Rag, a 308 gsm cotton paper, with a white border.

Size

At this size the museum's file prints at 191 ppi: sharp at arm's length, a little softer than the smaller sizes up close.

Size
20 × 16 in · image 17¾ × 13¼
Paper
Hahnemühle Photo Rag, 308 gsm
Price
$56

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About this work

This series of paintings predominantly tells the Old Testament story of Abraham and Isaac, and each of the canvases treats the interaction of humans and angels. In three works, angels appear to Abraham. However, the narrative of Tobias and the Angel comes from an entirely different book of the Bible. The blind Tobit sends his son Tobias off to collect a sum of money in the distant town of Media, with the angel Raphael accompanying him in disguise as a human. This particular work depicts Raphael overseeing Tobias catching a fish, which would later be used to cure his father's blindness.

Text from the Cleveland Museum of Art.

How it was made

Oil paint
Pigment ground in a drying oil, usually linseed. It dries slowly, so painters could blend on the canvas, build up thin translucent glazes, and rework a picture over weeks. Canvas replaced wooden panels in the 1500s because it is lighter and can be rolled.

Francesco Guardi

Italian, 1712–1793 · Born and died in Venice.

Guardi worked for years in the family studio in Venice led by his elder brother Gianantonio, producing altarpieces and figure paintings, and became chiefly a painter of city views, especially after his brother’s death in 1760. Where Canaletto is crisp and exact, Guardi’s views and imaginary capricci are loose and flickering, with dissolving buildings and shimmering water. He also recorded the public ceremonies of the last decades of the Venetian Republic.

Written by Ochre Editions.

See all 4 works by Francesco Guardi

Rococo

Light, playful and pastel: the decorative art of eighteenth-century Europe.

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Rights and the museum’s record

Public domain. The Cleveland Museum of Art has dedicated this image to the public domain under CC0, so anyone may copy, adapt and use it, for any purpose, without asking. Our prints and files are reproductions made from the museum’s image; the museum doesn’t endorse them.

Object number
1952.235.2
Credit
Courtesy of the Cleveland Museum of Art
Type
Painting
Department
European Painting and Sculpture
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