Metropolitan Museum: part 4 – Bernardo Strozzi - Tobias Curing His Father’s Blindness
Bernardo Strozzi: Italian, Genoa 1581–1644 Venice 1630–35; Oil on canvas; 57 1/2 x 88 in. (146.1 x 223.5 cm)
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These flanking figures possess wings, immediately identifying them as angelic beings. Their attire consists of draped white garments accented with red bands, emphasizing their otherworldly status and highlighting the contrast between earthly vulnerability and divine intervention. The younger man applying the ointment displays an intense focus on his task, his body angled towards the blind man in a gesture of concentrated care. The other angel’s posture is more relaxed, yet attentive, suggesting a supportive role within this sacred act.
The lighting scheme contributes significantly to the emotional weight of the scene. A strong light source illuminates the faces and hands involved in the healing process, drawing attention to their expressions and actions. This focused illumination creates dramatic shadows that obscure parts of the background and further emphasize the central figures. The limited palette – dominated by earth tones, whites, and reds – reinforces a sense of solemnity and reverence.
Beyond the literal depiction of a miraculous cure, the painting explores themes of filial piety, faith, and divine grace. The blind man’s reliance on his sons assistance speaks to the importance of family bonds and intergenerational support. The presence of angels underscores the belief in supernatural intervention and the power of faith to overcome adversity. The composition evokes a sense of intimacy and vulnerability, inviting contemplation on the nature of suffering, healing, and the enduring strength of human connection within a spiritual framework. The setting appears domestic rather than grand or ceremonial, which contributes to the feeling of immediacy and personal significance.