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Expulsion of Hagar and Ishmael

Date

ca. 1683

Creator

Ciro Ferri

Location

Raclin Murphy Museum of Art

This scene, taken from Genesis 21:9–21, depicts Abraham banishing his second wife, Hagar, and their son, Ishmael, from the family home. Sarah, his first wife, watches from a window above. Ciro Ferri set the figures in an idyllic, mountainous landscape instead of a dry desert, which was the original setting for the story. This change in scenery is typical of seventeenth-century Italian painting. The artist added decorative arrangements of foliage as framing devices to highlight the central figures and action. He also invigorated the image by the use of strong diagonal compositional elements that underscore the drama of the story. from Snite Museum of Art, Selected Works: Snite Museum of Art (Notre Dame, 2005)

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This scene, taken from Genesis 21:9–21, depicts Abraham banishing his second wife, Hagar, and their son, Ishmael, from the family home. Sarah, his first wife, watches from a window above. Ciro Ferri set the figures in an idyllic, mountainous landscape instead of a dry desert, which was the original setting for the story. This change in scenery is typical of seventeenth-century Italian painting. The artist added decorative arrangements of foliage as framing devices to highlight the central figures and action. He also invigorated the image by the use of strong diagonal compositional elements that underscore the drama of the story. from Snite Museum of Art, Selected Works: Snite Museum of Art (Notre Dame, 2005)
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  • This scene, taken from Genesis 21:9–21, depicts Abraham banishing his second wife, Hagar, and their son, Ishmael, from the family home. Sarah, his first wife, watches from a window above. Ciro Ferri set the figures in an idyllic, mountainous landscape instead of a dry desert, which was the original setting for the story. This change in scenery is typical of seventeenth-century Italian painting. The artist added decorative arrangements of foliage as framing devices to highlight the central figures and action. He also invigorated the image by the use of strong diagonal compositional elements that underscore the drama of the story. from Snite Museum of Art, Selected Works: Snite Museum of Art (Notre Dame, 2005)
  • This scene, taken from Genesis 21:9–21, depicts Abraham banishing his second wife, Hagar, and their son, Ishmael, from the family home. Sarah, his first wife, watches from a window above. Ciro Ferri set the figures in an idyllic, mountainous landscape instead of a dry desert, which was the original setting for the story. This change in scenery is typical of seventeenth-century Italian painting. The artist added decorative arrangements of foliage as framing devices to highlight the central figures and action. He also invigorated the image by the use of strong diagonal compositional elements that underscore the drama of the story. from Snite Museum of Art, Selected Works: Snite Museum of Art (Notre Dame, 2005)
  • This scene, taken from Genesis 21:9–21, depicts Abraham banishing his second wife, Hagar, and their son, Ishmael, from the family home. Sarah, his first wife, watches from a window above. Ciro Ferri set the figures in an idyllic, mountainous landscape instead of a dry desert, which was the original setting for the story. This change in scenery is typical of seventeenth-century Italian painting. The artist added decorative arrangements of foliage as framing devices to highlight the central figures and action. He also invigorated the image by the use of strong diagonal compositional elements that underscore the drama of the story. from Snite Museum of Art, Selected Works: Snite Museum of Art (Notre Dame, 2005)
Ciro Ferri (Italian, 1634 - 1689)
ca. 1683
Paintings
Oil on canvas
1988.061
Bible, Old Testament
Hagar
religious art
Story of Ishmael and Hagar
Raclin Murphy Museum: 212
61 3/4 x 47 3/4 x 2 3/4 in. (156.85 x 121.29 x 6.99 cm)
Gift of Mr. Fred Snite Sr., by Exchange, and Fred B. Snite Sr. Foundation Fund

Our collection information is a work in progress and may be updated as new research findings emerge. If you have spotted an error, please contact Raclin Murphy Museum of Art at RMMACollections@nd.edu.