Lazarus resurrection image12/2/2023 "Rembrandt's Etchings of Biblical and Mythological Subjects: Associations with his Paintings." in Rembrandt and Dutch History Painting in the 17th Century, edited by Akira Kofuku, 139-57. Rembrandt: the Complete Edition of the Paintings. Los Angeles: Los Angeles County Museum of Art, 2015. Gifts on the Occasion of LACMA's 50th Anniversary.Rembrandt: His Life, His Paintings: a New Biography with all Accessible Paintings Illustrated in Colour. Ahmanson and Company, gift in 1972 to LACMA. Ahmanson (1906–1968), Los Angeles, upon his death to H. Madame Gertrude Dubi-Müller (1888–1980), Shanzmüle, Solothurn, Switzerland (on extended loan to the Rijksmuseum, Amsterdam), by 1932, sold 1959 to Howard F. Gottfried Winckler II (1731–1795), Leipzig, by descent to Gottfried Winckler III, Leipzig Jean François André Duval (1776–1854), Saint Petersburg and Geneva, by 1812 (sale, London, 12–, lot 116, to) Charles Auguste Louis Joseph de Morny, 1st Duke of Morny (1811–1865) (sale, Paris,, lot 17). Philippus Joseph de Jariges (1706–1770) (sale, Amsterdam, 14 Oct. (Possibly Anonymous sale, Amsterdam, 4 June 1727, lot 2). (Possibly David Grenier sale, Middleburg, 18 Aug. Possibly Pieter le Moine, Amsterdam, by 1674. Possibly Abraham Fabritius (1629–1692), Amsterdam, by 1670. Probably collection of the artist, Amsterdam, until 1656. The dramatic darkness of the cave does not obscure the subtle colors-mauve, rose, and aqua-of the costumes or the glinting highlights of the quiver and scabbard hanging at the right. Rembrandt interprets Lazarus's rising not only in direct correspondence with Christ's forceful gesture but also in response to the divine power it has unleashed by evoking faith.Īround Christ and the tomb huddle the astounded witnesses-among them Mary and Martha, Lazarus's sisters-whose gestures and expressions record successive states of awareness and awe before what is unfolding. Christ's divine and human nature is revealed as he stands in the cave where Lazarus was buried, his hand raised to perform the miracle, his face filled with apprehension and triumph. The Raising of Lazarus is Rembrandt's only painting of this miracle marking the culmination of Christ's ministry, but he also made drawings and etchings of the same subject. Because the Dutch Reformed Calvinism of his time forbade religious art in churches, public commissions for paintings of biblical subjects were virtually nonexistent, but an enthusiastic private patronage for them thrived, which helps account for the preponderance of religious subjects in Rembrandt's work. Throughout his life Rembrandt treated the stories and parables of the Old and New Testaments in accessible, familiar images.
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