Veronese School, 17th century, Tobias and the Angel

Veronese School, 17th century Tobias and the Angel Oil on slate, 26 x 37 cm With frame, 29.5 x 39.5 cm The biblical story of Tobias and the Angel has inspired many painters over the centuries: young Tobias met Raphael, who did not, however, appear as an angel, and set off on a journey with him and his little dog. Upon arriving at the Tigris River, Tobias wanted to bathe; a fish, however, leaped from the water and tried to devour his foot. Incited by Raphael, Tobias managed to grab the fish, throw it onto the bank, and remove its heart, liver, and bile, which, according to the angel, would be remedies against demons and eye diseases. Indeed, once he returned home, Tobias smeared the fish's bile on his father's eyes, and he miraculously regained his sight. In this version too, the young man is depicted holding a fish as he walks, guided by the archangel in a wild environment devoid of other human presence. Among the most characteristic elements of works from the Veronese school are carpets with velvety colors, draperies imbued with intense light, refined embroidery on hems, and precious fabric textures. In the natural elements, we find typical backgrounds with natural landscapes rich in chromatic nuances, such as hills covered in lush vegetation, plant elements, and more barren reliefs in the distance. Bright and lustrous colors also align with the teachings of the Veronese school, and therefore also the Venetian school, although chiaroscuro contrasts are more emphasized here in the backlit areas. The extremely vibrant and reflective effect of the painting is certainly enhanced by the support: slate. Painting on marble or slate is rather rare but extremely precious in its effects. The rarity of works painted on stone, in terms of large figurations, is mainly due to the weight of the stone material, much greater than that of a wooden panel or canvas. The use of this support also became established in Veneto during the 16th century, so much so that even great artists of the caliber of Titian and Sebastiano del Piombo tried their hand at creating works on this type of support. An example in the Veronese field can be represented by the Judgment of Solomon by Giovanni Battista Amigazzi, a painter of the Veronese school active between the 16th and 17th centuries; but the trend of painting on slate is also found in the collections of Palazzo Maffei and the Museo di Castelvecchio, which contain many examples of paintings on slate by Veronese painters.