In the
Actually the cycle looks better from the ground than up close, which may be interpreted in two ways: either Guardi was in fact a lousy painter or else he knew what Michelangelo had to learn the hard way while painting the Sistine Chapel ceiling: things to be viewed from far away can be pretty sketchy since the visual cortex of the viewer fills in the missing but barely suggested details. In any case, the figures are graceful and the lighting dreamily beautiful. If Guardi was lousy at anything, it was in rendering human faces, but in this instance, these are too small to see from the church floor.
I was obliged to explain the story of Toby – told in the painting – to some Asian friends lately. I feel sheepish whenever I have to explain anything biblical since all the stories are so patently god-damned-awful. Forget for a moment that it is a biblical story and try to hear it with an objective ear: a Jewish man in Assyria sends his son to wed a Jewish woman in
Now, tell me, what kind of a dumb story is that?
Though, of course, it is not nearly as revolting as the story of Abraham’s willingness to sacrifice his son Isaac to god.
Which was, we are told, a good thing.
Yuck.
Now, you figure how to present this story in palatable light to anyone not potty-trained to have a positive reaction to anything deemed "biblical". I can't.
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