Granada School; second half of the 17th century. "Rebeca". Oil on canvas. Re-retouched. It presents repainting and restorations. Measurements: 62 x 200 cm; 81 x 217 cm (frame). It is possible that this scene is related to the biblical narration that refers to Rebecca, which is related in an episode from Genesis (24: 18-20), related to the choice of a wife for Isaac. As his days were drawing to a close, Abraham began to think about finding a wife for his son. He did not want him to marry a woman from Canaan, the land where they lived, but from Ur, where he was born. So Abraham called one of his servants, Eliezer, and told him that God would help him find a wife for Isaac from among the relatives who lived in his homeland of Mesopotamia. The servant set out, and when he reached the gates of the city where Abraham's brother Nahor lived, he let his camels rest near a well. There he prayed to God: "Yahweh, God of my master Abraham, meet me today, and be gracio to my master Abraham. I am going to stand by the well while the women of the citye to fetch water; the young woman to whom I say, I pray you, tip your pitcher, that I may drink, and she says to me, 'Drink, and I will give your camels a drink,' be she whom you will give to your servant Isaac. Before he has finished speaking, Rebekah, the young virgin granddaughter of Nahor, appears and goes to fill her pitcher with water. Eliezer asks her for some water from her pitcher, and she also offers to water his camels. The servant then offers her a ring and two gold bracelets, and asks her who she is and if she can stay overnight in her father's hoe, to which she agrees. Eliezer tells her whole story point by point, and the family agrees to let Rebekah go to Abraham's hoe and marry Isaac. In this particular case the camels are not visible, but we do see at one end of theposition the woman seated with the pitcher resting on her body, while at the other a male figure flees, while still turning his gaze towards the lady. . With regard to the Granada school, when Alonso Cano returned to Granada in 1652, he attracted all the artists to him. It could almost be said that the features that characterise the school are the features of its style. Th, in all of them, the search for the ideal and elegant in the types, the flight from realism and genre scenes, paying little attention to portraiture and almost no attention to still life. Rich colour intonations abound in all of them, with specific palette preferences, such as the e of asphalt, as well as a taste for Flemish painting, which would have been encouraged by Pedro de Moya, who is said to have travelled to Flanders and England.Dimensions: 62 x 200 cm; 81 x 217 cm (frame).