Réception de Raguel de Tobias à Ecbatana 1520–75 Pieter Aertsen Netherlandish Voici l'histoire de Tobias dans l'ancien Testament à la Maison de Raguel.Au premier plan, nous voyons Raguel embrasser le jeune Tobias, car il apprend que ce visiteur est le fils de son frère Tobit.Le gardien de Tobias, l’archange Raphaël, reconnaissable par ses ailes, se tient derrière eux, tandis que l’épouse de Raguel, Anna, et sa fille Sara, montrées à droite, sont surmontées par l’émotion.Après avoir entendu les nouvelles joyeuses, Raguel commande la mort d'un mouton, qui est photographié à gauche, en préparation d'un dîner festif

• Contributeur: MET/BOT / Alamy Banque D'Images
• ID de l’image: 2HH9RTN
• Taille du fichier: 19,2 MB (1,3 MB Téléchargement compressé)
• Autorisations: Modèle - non | Propriété - non
• Dimensions: 3523 x 1903 px | 29,8 x 16,1 cm | 11,7 x 6,3 inches | 300dpi
• Date de la prise de vue: 22 janvier 2022

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Cette image appartient au domaine public, ce qui signifie que le droit d’auteur a expiré ou que le titulaire du droit d’auteur a renoncé à ses droits. Les frais facturés par Alamy couvrent l’accès à la copie haute résolution de l’image.

Cette image peut avoir des imperfections car il s’agit d’une image historique ou de reportage.

Raguel's Reception of Tobias at Ecbatana 1520–75 Pieter Aertsen Netherlandish Here depicted is the Old Testament story of Tobias at the House of Raguel. In the center foreground we see Raguel embracing the young Tobias, as he learns that this visitor is the son of his brother Tobit. Tobias’s guardian, the archangel Raphael, recognizable by his wings, is standing behind them, while Raguel’s wife Anna and daughter Sara, shown to the right, are overcome by emotion. Upon hearing the joyful news, Raguel commands a sheep to be killed – which is pictured to the left – in preparation of a festive dinner.As is typical of the time, the artist incorporated various moments in the Old Testament story into the same image. Therefore, in the left background, we see Tobias and the Angel arriving at a lake, where Raphael subsequently encourages his companion to catch a fish that will help cure his father’s blindness. Finally, to the far right, Tobias is joined in matrimony to Raguel’s daughter Sarah.The drawing is signed ‘L. Pier’ in the lower right corner – an abbreviation of Pieter Aertsen’s nickname ‘Lange Pier’, meaning Long Peter. The sixteenth-century Netherlandish artist is mostly known for his highly realistic paintings of still-lives and genre scenes. In contrast, his works with religious subject matter tend to show a more mannered style. The drawing depicted here is illustrative of Aertsen’s mannerism, apparent in the noticeably elongated features of the figures, their ovoid shaped heads, as well as the stylistic properties of the vessels seen in the lower right.Only a handful of drawings by Aertsen have come down to us. Studying the corpus of circa twenty securely attributed sheets on basis of their draftsmanship and stylistic properties has enabled Wouter Kloek, former curator of paintings at the Rijksmuseum, Amsterdam, to establish a tentative dating of the artist’s graphic oeuvre.This corpus forms a point of reference in the process of dati