The Archangel Raphael and Tobias 1460 - 1467

Curator: Here we have Neri di Bicci's "The Archangel Raphael and Tobias," painted between 1460 and 1467. It's currently held at the Metropolitan Museum of Art. Editor: Immediately, I'm struck by the tenderness of this piece. The gentle hand-holding and the averted gazes suggest a protective, almost parental bond between the angel and the boy. There is something quite delicate in the poses and color palette, given this is a story taken from religious text. Curator: Right, and placing the work within its historical context reveals how central these religious narratives were to Renaissance society, reinforcing specific power structures of that time. Depictions of biblical stories played a vital role in shaping religious beliefs, guiding morality, and affirming communal identities within a society still deeply influenced by the Church. Editor: Exactly. How might interpretations shift if we viewed this relationship outside the lens of divine guidance? Looking at this through, say, a queer theory perspective, we could unpack the complexities of intimacy, mentorship, and potentially suppressed desires within religiously sanctioned bonds, something common in historical portraiture involving powerful patrons and their younger charges. Curator: That’s an interesting angle. The politics of imagery here also matter. How did representations of divine figures by artists such as di Bicci shape how the populace understood and related to religious authority? It is all about the creation of visual and material culture around belief. Editor: And what about the presence of animals in Renaissance art and depictions of religious scenes? This little dog in the lower left is a wonderful example of adding familiar cultural ideas into an old story and familiar art styles. Curator: It makes the story feel more grounded, more relatable, in a way. It is no accident dogs also have rich and long established symbolic meanings as protectors and faithful guides. Editor: Thinking about it now, that grounded feeling may be di Bicci's larger objective. Considering the painting's themes of divine guidance and faith, I think it brings an earthliness to the narrative to make it easier to consider and internalize. Curator: Yes, reflecting on Neri di Bicci's choices allows a much deeper exploration into social conditions in Renaissance Florence. Editor: Absolutely. Considering new, potentially marginalized contexts is key to engaging meaningfully with this era's art.