This is a painting of a rural scene with multiple figures and animals. The composition features a group of individuals engaged in interaction in the foreground near a structure, while in the background, there is a pastoral landscape of hills, trees, and several shepherds tending to flocks of sheep by a stream or road. The figures are depicted in traditional garments with one kneeling. The artwork uses a monochromatic palette with shades of grey to create contrasts and highlights. This is in the style of a Renaissance artist, reminiscent of detailed narrative compositions seen in works by Pieter Bruegel the Elder or other artists of the time who focused on human activity and landscapes.
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This is a painting of a rural scene with multiple figures and animals. The composition features a group of individuals engaged in interaction in the foreground near a structure, while in the background, there is a pastoral landscape of hills, trees, and several shepherds tending to flocks of sheep by a stream or road. The figures are depicted in traditional garments with one kneeling. The artwork uses a monochromatic palette with shades of grey to create contrasts and highlights. This is in the style of a Renaissance artist, reminiscent of detailed narrative compositions seen in works by Pieter Bruegel the Elder or other artists of the time who focused on human activity and landscapes.

National Gallery of Art · Drawing

Abraham Entertaining the Angels [verso]

German 16th Century

Date
c. 1600
Medium
pen and brush and black ink with brush and gray ink and gray wash heightened with white on gray prepared paper
Dimensions
overall: 16.3 x 20.6 cm (6 7/16 x 8 1/8 in.)
Classification
Drawing
Accession number
1943.3.5719.b
Credit line
Rosenwald Collection
Time span
1551 to 1600
Department
CG-E

Portfolio and series

Series
One of 14 drawings on 8 sheets of Biblical Subjects

Subjects and terms

  • German
  • Old Testament
  • religious
  • Abraham
  • chiaroscuro (drawing)

NGA object ID 8644. Collection metadata is reproduced under CC0. This work is included because its NGA published-image record is marked open access; visitors should recheck the source record before substantial reuse.