Artwork

Six large upright landscapes with scenes from the Old Testament: Tobias and the Angel

Six large upright landscapes with scenes from the Old Testament: Tobias and the Angel is a print by the Baroque artist Antonie Waterloo. It dates from 1665 and is held in the collection of the Cleveland Museum of Art.

About this work

Overview

Six large upright prints depicting a scene from the Old Testament, titled "Tobias and the Angel," were executed by the Dutch printmaker Anthonie Waterloo in 1665. The works form a series of six landscape prints that illustrate biblical narratives. One example resides in the collection of the Cleveland Museum of Art.

Subject & Meaning

The image presents a rocky slope dominated by a massive, leafy tree whose spreading branches frame a distant settlement.

The image presents a rocky slope dominated by a massive, leafy tree whose spreading branches frame a distant settlement. Two modestly dressed figures walk along a path, carrying a bundle, and appear to be moving toward the village below. The composition alludes to the biblical episode in which the young Tobias, guided by the archangel Raphael, journeys to retrieve a cure for his father's blindness.

Technique & Style

Waterloo employed the printmaking techniques typical of mid‑seventeenth‑century Dutch engraving, rendering fine line work to delineate the rugged terrain, foliage, and architectural elements. The chiaroscuro effect of the dark tree against a largely empty sky emphasizes depth, while the waterfall and distant village are suggested with economical strokes, reflecting a Baroque interest in dramatic yet controlled landscape narrative.

History & Provenance

Created in 1665, the series of six prints was likely intended for a market of devotional collectors interested in biblical subjects rendered in a picturesque manner. The Cleveland Museum of Art acquired its example through a 20th‑century donation, though the precise acquisition date and prior ownership remain undocumented in publicly available records.

Context

During the Dutch Golden Age, printmakers frequently produced series that combined religious storytelling with expansive natural settings, catering to both private devotion and the growing appetite for illustrated books. Waterloo's work aligns with this trend, offering a visual synthesis of scriptural narrative and the era's fascination with detailed, atmospheric landscapes.