The Sacrifice of Isaac

Cleveland Museum of Art

The Sacrifice of Isaac

Andrea del SartoLinkedCulture matchlcp-8c6fd7a695b1

Date
c. 1527
Medium
oil on wood
Culture
Italy, Florence
Department
European Painting and Sculpture
Institution
Cleveland Museum of Art
Object ID
117032

From the Cleveland Museum of Art record

In this dramatic test of faith from the Old Testament book of Genesis, Abraham agrees to slay his son Isaac on God’s command. As Abraham raises the knife, an angel suddenly appears to halt the sacrifice. This work gains its power from the complex expressions of father and son, combining grief, strength, resignation, fear, and realization in their faces and bodies, the latter inspired by ancient sculpture and Michelangelo. Andrea del Sarto never finished this painting, and it lays bare his working methods. He transferred the design to the panel from a drawing, reinforcing the chalk with painted lines—best seen in the donkey at the far right. He then worked over the whole panel at once with thin, brushy veils of color, letting him alter the composition while painting—especially evident in the angel, Isaac’s body, and Abraham’s head. The angel has two visible sets of legs, showing the artist’s revision of the composition.

The authoritative record is held by Cleveland Museum of Art. LinkedCulture surfaces this object and its connections; it does not alter institutional metadata.

Get printable QR codes

Open QR codes for this object page and the museum record. They stay collapsed until needed.

Open this page QR destination: https://linkedculture.org/q/q1.FpHYtlnPC2a2Pc5b.wxGoZS8T8XPdcOGnvNKtNo9gIEF1QdYPCw0h3WwM-9sjxSW61csEcEL6AZYMXWFtNLHE01fesmaEL_-Eafoa3QBsxfxDtd4plBuRh-MTkHnkLkE_MQTlHo8RtMykIkivERhFLv3WemhlEZ2P4EIWjfbtU3xv8nwv2PEBgGQt3eBDJzAln3DUkGea9tcmXSu3WBNlJsVBJzlBQ65etZWpQXSpwoD3r4vmTk18294flc94xmMLDVJ93zJ88lBHUMACiPl8g7M94Z-sqMFSAQPm3hazBAGqPGvck70HOvmOgGw7q1Z3lgSee at Cleveland Museum of Art QR destination: https://linkedculture.org/q/q1.EDwcZBGr6DwqwtAl.Ue5CauJcFNuyaECdUXD2IXM7RX241J3FFlCaTkMH7SLCX890wU2HM9jE9139hCOG_ZidQf3jPJTDH5cxNNTs7jUSF1dqbj9b2phudQpMwAQdIHxJLEZieO_KnVNCK1nZanpaEGR_9_kiBeEfjK_n8GgUdNbAf4jgfNYf3frbtTf0zdsFqnpwNEI2VXO2mzNqQTuKNLPwYobHs4F0On2djDbfx1IHULb7YdzwALu38aShiCNOimECs4Dth0P6wRqfg2a6dCcBvoI5X_G-ZJUq0Gs-cNBjTLImUeu7gOBmSw
Open this page
See at Cleveland Museum of Art

Provenance & credit

As published by the source institution. Coverage varies — not every institution's open-data feed includes ownership history.

Credit line
Delia E. Holden and L. E. Holden Funds
Provenance
By 1649: Cardinal Carlo de' Medici, Florence | Possibly the Montalvi Collection, Florence | Possibly the Peruzzi Collection, Florence | By 1829: Zondadari Collection, Florence | 1846 - 1858: William Cave, died 1858 (Brentry House, near Bristol, bought in Florence in 1846), by inheritance to his wife. | 1858: Mrs. William Cave | 1858: Sold, Christie's, London, June 22, 1858, lot 102 | 1858 - 1882: Possibly Peters | 1882 - ?: George Cornwall Legh, High Legh, Co. Chester | ? - 1935: Lieutenant Colonel Henry Cornwall Legh, High Legh, Co. Chester | 1935: Sold at Sotheby's, London, May 21, 1935, to Spencer Samuels | 1935 - 1937: Spencer Samuels, T. Harris, London, and Durlacher Brothers, New York | 1937 -: The Cleveland Museum of Art, Cleveland, OH

Related across collections

Semantically similar works from Cleveland Museum of Art and other institutions.