The Sacrifice of Isaac
The original, as its museum records it
Every line above is reproduced from the holding institution’s own catalogue entry, which is linked. Where their title, date or attribution differs from ours, theirs is the one printed here.
The file this print is made from
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About this painting
Genesis gives the angel a voice from heaven and nothing more. Andrea gave it two bodies. Count the angel's legs: there are four, because he moved the figure while painting and never covered the first pair. Cleveland's note is that it was never finished, which lays his method bare: a design transferred from a drawing, the chalk gone over in paint, clearest in the donkey at the far right, then thin veils of colour over everything.
Vasari counted three versions. This is the one still being decided. The knife is up; the angel has not settled where to stand.
Sources: The Cleveland Museum of Art, 'The Sacrifice of Isaac', Andrea del Sarto, acc. 1937.577, description and 'Did you know?'. · The Cleveland Museum of Art Open Access API, record 1937.577. · Museo Nacional del Prado, 'The Sacrifice of Abraham', Andrea del Sarto, collection entry. · Genesis 22:10-11, Douay-Rheims (Challoner).
And he put forth his hand, and took the sword, to sacrifice his son. And behold, an angel of the Lord from heaven called to him, saying: Abraham, Abraham. And he answered: Here I am.
Genesis 22:10-11 · Douay-Rheims (Challoner), from the project’s own corpus at data/bible_drc.js
Printed on demand. Public-domain masterwork, reproduced from a 12,836 px master of the original. The whole image is printed — never cropped to fit the sheet — so every sheet carries an archival margin, and the dimensions and resolution listed above are the ones you receive.