Vertreibung der Hagar (Kopie nach)

Celesti employs chiaroscuro to define form and direct attention, with deep shadows anchoring the figures against a muted background. Brushwork is looser than in his earlier academic pieces, suggesting a move toward expressive spontaneity. Facial details and fabric textures are rendered with precision, yet the overall handling avoids rigidity. The subdued browns and grays reinforce the somber mood, while the spatial arrangement creates a sense of intimate, enclosed drama.

The painting is a copy made after Celesti’s original, likely produced in his studio or by a follower during the late 17th century. It entered the Alte Pinakothek’s collection in the 19th century, part of a broader effort to acquire significant Baroque works from Italian schools. While the original by Celesti is not definitively identified, this version preserves the compositional structure and emotional tone of his mature style, offering insight into the circulation of Venetian imagery in German-speaking regions.

In late 17th-century Venice, religious subjects remained central to artistic production, though the approach to them was shifting. Celesti’s work reflects a transition from the formal rigidity of earlier Baroque traditions toward a more naturalistic and emotionally resonant mode. This painting aligns with broader trends in Venetian painting, where narrative clarity and psychological nuance began to outweigh grandeur and ornamentation, anticipating the sensibilities of the 18th century.

Though not among Celesti’s most widely known works, this painting exemplifies his evolving approach to biblical storytelling. Its presence in the Alte Pinakothek underscores its role in shaping German perceptions of Venetian Baroque art. The work’s restrained drama and attention to human vulnerability contributed to a quieter, more introspective strand of religious painting that influenced later generations seeking emotional authenticity over spectacle.