Italian school; late 18th century. "God appearing to Abraham". Oil on canvas. Relined. Measurements: 100 x 125 cm; 114 x 140 cm (frame). This work collects a biblical narrative from the Old Testament (Genesis 18). It talks about Sarah's pregnancy, besides dealing with themes such as God's faithfulness to fulfill his promises, the importance of hospitality and mercy. In this particular case we see the monumental figures of Abraham and God in the right zone of the composition, each of them dominating a space, the earthly and the heavenly. Behind this, several characters and animals complete the scene, thus creating a composition of narrative character that indicates the instructive function of the same. Aesthetically the work recalls to a great measurements the painting of Luca Giordano, the most outstanding Neapolitan painter of the end of the XVII century, and one of the main representatives of the last Italian Baroque.Painter and engraver, known in Spain as Lucas Jordán, Giordano enjoyed great popularity during his lifetime, both in his native Italy and in our country. However, after his death his work was often criticized for its speed of execution, opposed to the Greco-Latin aesthetics. It is believed that he was formed in the environment of Ribera, whose style he followed at first. However, he soon traveled to Rome and Venice, where he studied Veronese, whose influence has been felt ever since in his work. This trip was key to the maturation of his style, as well as the influences of other artists such as Mattia Preti, Rubens, Bernini and, above all, Pietro da Cortona. At the end of the 1670s Giordano began his great mural decorations (Montecassino and San Gregorio Armeno in Naples), which were followed from 1682 by other projects, including the mural paintings in the gallery and library of the Palazzo Medici Ricardi in Florence. In 1692 he was called to Madrid to carry out mural works in the monastery of El Escorial, where he worked from 1692 to 1694. Later he also painted the office and bedroom of Charles II in the Royal Palace of Aranjuez, and after these he undertook the paintings of the Casón del Buen Retiro (ca. 1697), the sacristy of the cathedral of Toledo (1698), the royal chapel of the Alcázar and San Antonio de los Portugueses (1699). However, royal commissions ceased with the arrival of Philip V in 1701 and the beginning of the War of Succession, so Giordano returned to Naples in 1702, although from there he continued to send paintings to Spain. Today Giordano's works are kept in the most important art galleries around the world, including the Prado Museum, the Hermitage in St. Petersburg, the Louvre in Paris, the Kunsthistorisches in Vienna, the Metropolitan in New York and the National Gallery in London.