Der heimgekehrte Tobias heilt seinen blinden Vater 

Christoph Murer rendered “The Return of Tobias” in ink and wash. It is a detailed drawing on paper, a medium prized for its affordability and ease of handling, which allowed Murer to achieve fine lines and subtle gradations of tone. The drawing's impact lies in its technical virtuosity, and in this we can observe the artist's careful application of ink washes to create depth and shadow. He brings the biblical scene to life with a delicate balance between line and tone. You can almost feel the weight of the figures, and the texture of the fabrics. Murer was working at a time when printmaking was on the rise. This allowed artists to disseminate their images widely and cheaply. Drawings like this one were often made as preparatory studies for prints, thus becoming part of a larger network of production and consumption. The drawing stands not only as a work of art but as a document of its time, enmeshed in social and economic currents. It is an object that straddles the boundaries of fine art and craft.