GENERAL DESCRIPTION
The Book of Genesis (22: 1-19) tells how God tested Abraham's devotion by ordering him to sacrifice his only son, Isaac. In this deeply moving depiction, Antonio de Pereda presents Abraham, still unaware that God will intervene, gesturing heavenward while gazing tenderly at his son. This differs from the more common practice of artists representing the dramatic moment when Abraham is set to slay Isaac and God sends an angel to halt his hand at the last moment.
Excerpt from
Dorothy Kosinski, DMA label copy, 1997.
NOTES
Created c. 1659
Formerly attributed to Antonio de Pereda
Checked Piction
Early in his career, Antonio Pereda was one of the artists engaged in the decoration of Buen Retiro Palace in Madrid under the direction of Velazquez. His time at the court of Philip IV would have allowed him to closely study the paintings by Titian in the Spanish royal collections. In this work from his maturity, the deep blue sky and a certain softness of atmosphere echo Titian. The strongest influence, however, is evident in the unidealized face and body of the aged Abraham. This is the naturalism made popular by Caravaggio, and known to Pereda through the paintings of one of his followers, the Spanish Neapolitan Jusepe de Ribera. Hanging nearby in this gallery is "Bacchic Concert," painted by another Caravaggist, Paolini. This painting is probably one of four that Pereda painted for the convent church of the Shod Carmelites in Madrid. The Book of Genesis (22:1-19) tells how God tested Abraham's devotion by ordering him to sacrifice his only son, Isaac, as a burnt offering. Traditionally, artists depict the climactic moment when Abraham is set to slice the throat of Isaac and God sends an angel to stay his hand. Here, instead, Abraham gestures heavenward in response to Isaac's query, recalling the following verse: "My son, God will provide himself a lamb for a burnt offering."
Dallas Museum of Art, Museum of Europe Label Text
August, 1993
Catalogue essays
Artist/designers
Lievens, Jan (Dutch, 1607-1674)
Cultures
Geography
Depicted location: Jerusalem (Israel): TGN: 7001371
Depicted location: Judaean Mountains, Mount Moriah
Process/materials
Historical periods
Individuals
Abraham
Isaac
Subject terms
RELATED OBJECTS
PROVENANCE
AUDIO ASSETS
VIDEO ASSETS
IMAGE ASSETS
WEB RESOURCES
- Rijkmuseum, Amsterdam~Learn more about the life and work of Jan Lievens.
- National Gallery of Art, Washington, DC~Read a biography of Jan Lievens from the NGA.
ARCHIVAL RESOURCES
FUN FACTS
TEACHING IDEAS
RULES
Apply to objects where number equals 1987.36
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General Description
The Book of Genesis (22: 1-19) tells how God tested Abraham's devotion by ordering him to sacrifice his only son, Isaac. In this deeply moving depiction, Antonio de Pereda presents Abraham, still unaware that God will intervene, gesturing heavenward while gazing tenderly at his son. This differs from the more common practice of artists representing the dramatic moment when Abraham is set to slay Isaac and God sends an angel to halt his hand at the last moment.
Excerpt from
Dorothy Kosinski, DMA label copy, 1997.
Fun Facts
Archival Resources
Web Resources
- Rijkmuseum, Amsterdam~Learn more about the life and work of Jan Lievens.
- National Gallery of Art, Washington, DC~Read a biography of Jan Lievens from the NGA.
Notes
Created c. 1659
Formerly attributed to Antonio de Pereda
Checked Piction
Early in his career, Antonio Pereda was one of the artists engaged in the decoration of Buen Retiro Palace in Madrid under the direction of Velazquez. His time at the court of Philip IV would have allowed him to closely study the paintings by Titian in the Spanish royal collections. In this work from his maturity, the deep blue sky and a certain softness of atmosphere echo Titian. The strongest influence, however, is evident in the unidealized face and body of the aged Abraham. This is the naturalism made popular by Caravaggio, and known to Pereda through the paintings of one of his followers, the Spanish Neapolitan Jusepe de Ribera. Hanging nearby in this gallery is "Bacchic Concert," painted by another Caravaggist, Paolini. This painting is probably one of four that Pereda painted for the convent church of the Shod Carmelites in Madrid. The Book of Genesis (22:1-19) tells how God tested Abraham's devotion by ordering him to sacrifice his only son, Isaac, as a burnt offering. Traditionally, artists depict the climactic moment when Abraham is set to slice the throat of Isaac and God sends an angel to stay his hand. Here, instead, Abraham gestures heavenward in response to Isaac's query, recalling the following verse: "My son, God will provide himself a lamb for a burnt offering."
Dallas Museum of Art, Museum of Europe Label Text
August, 1993
Catalogue essays
Artist/designers
Lievens, Jan (Dutch, 1607-1674)
Cultures
Geography
Depicted location: Jerusalem (Israel): TGN: 7001371
Depicted location: Judaean Mountains, Mount Moriah
Process/materials
Historical periods
Individuals
Abraham
Isaac
Subject terms
RELATED OBJECTS
PROVENANCE
AUDIO ASSETS
VIDEO ASSETS
rules
Apply To
Objects
number
Equals
1987.36
source file
object_notes_2_c-0169.xml.nores