Guercino, 'Elijah fed by Ravens', 1620

The monumental figure in this painting is Elijah, an Old Testament prophet who lived in the northern kingdom of Israel in the ninth century BC. Having predicted that a terrible drought would ravage the land, Elijah was instructed by God to hide on the banks of the stream Cherith. Here, ravens delivered bread and meat to him every morning and evening. The over life-size form of Elijah dominates the scene, filling almost the entire picture space. This has the effect of bringing him closer to the viewer, and his massive form towers over us.

While Elijah’s story embodies piety, Guercino’s representation is profoundly human. The prophet sits awkwardly, his right leg jutting out from beneath his cloak and his body twisting as he turns his aged face expectantly toward the ravens. He clasps his cloak out in front of him, preparing to catch the food brought by the birds – they represent both physical and spiritual nourishment as Elijah places his faith in God’s commands. A bowl lies empty at the prophet’s feet and his clothing is torn at the shoulder, reminding us of his hunger and hardship in the wilderness. His isolation is underlined by the inclusion of two small figures walking away in the distance.

Guercino has explored textures and contrasted lighting in this painting. The still, reflective surface of the Cherith stream is visible on the left. Its water runs alongside the cold stone on which Elijah rests his weathered feet, and laps close to the paper scroll lower right. Elijah’s fluffy grey beard and cloth lined with animal hair contrast with the heavy swathes of drapery cascading over his lap. The form of Elijah’s body can be sensed beneath the fabric – although we cannot see his left leg or torso, we have a good idea of how his body is angled and posed.

The strong directional light used to cut across the form and the subdued colour palette are both typical of Guercino’s early painting style. Although he was largely self-taught, Guercino’s style was inspired by the artistic centres of Ferrara and Bologna, close to his native Cento. He was particularly influenced by the prominent Bolognese artist Ludovico Carracci. Ludovico advocated the close study of nature, as demonstrated in Guercino’s treatment of Elijah in this painting. The inclusion of the landscape in the background of this picture is typically Bolognese.

This picture is one of a number of works Guercino made for the papal legate of Ferrara, Cardinal Jacopo Serra (1570–1623), an early and enthusiastic patron of the artist. It was painted in 1620, before Guercino travelled to Rome. By 1655 the painting had been acquired by the powerful Barberini family in Rome and, remarkably, it still retains its Barberini frame.