the raising of lazarus rembrandt etching
Rembrandt painted The Raising of Lazarus early in his career, while he was still in Leiden, and not long after his apprenticeship under Pieter Lastman, whose influence is clear. Rembrandt made two etchings on the same subject but with differing compositions, one in approximately 1632 and another in 1642 (see gallery below). The 1632 etching shows a different point of view while the 1642 etching shows different figures in the cave. The 1642 etching also depicts Christ as more of a healer, rather than the enchanter of this work. (Sister Wendy Beckett opines that Jesus is portrayed in this work as a weary magician rather than a triumphant savior.) The subject of this painting may draw on an undated Jan Lievens etching of the same name. Lievens and Rembrandt were friends and probably worked together.  The composition of the painting may derive from a drawing by Rembrandt from the same time as the Burial of Christ. Rembrandt would most closely imitate Raising of Lazarus with his 1635/1639 painting The Resurrection. The placement of the figures is similar and a study of drawings indicates that the latter was developed from the former.
The Raising of Lazarus is an oil-on-panel painting by the Dutch artist Rembrandt from early in his career; it was probably painted between 1630 and 1632. The work depicts the Raising of Lazarus as told in the Gospel of John, Chapter 11. It is in the collection of the Los Angeles County Museum of Art.
Copies of previous masters by Vincent van Gogh form a distinguished group of paintings created by Vincent van Gogh between 1887 and early 1890. While at Saint-Paul asylum, where Van Gogh admitted himself, he explored famous works from renowned artists. Van Gogh created over 30 artworks that were copies inspired by some of his favorite artists. However, rather than replicate, Van Gogh sought to translate the subjects and composition through his unique perspective of color and technique.
Rembrandt van Rijn was an innovative and prolific master draughtsman, painter, and printmaker. He is generally considered one of the greatest visual artists in the history of art and the most important in Dutch art history.
1. Bartsch. The Illustrated Bartsch Vol. 50. Edited by Stephanie S. Dickey. New York: Abaris Books, 1981. Illustrated as catalogue raisonné no. 73 (another example illustrated) on page 59.
2. Hind, Arthur. A Catalogue of Rembrandt’s Etchings. New York, 1967. Listed and illustrated as catalogue raisonné no. 96.
3. M?nz, Ludwig. Rembrandt’s Etchings: Reproductions of the Whole Original Etched Work, Vol. 1. London: Phaidon Press, 1952. Listed and illustrated as catalogue raisonné no. 214 and 215 (another example illustrated).
4. M?nz, Ludwig. Rembrandt’s Etchings: Reproductions of the Whole Original Etched Work, Vol.2. London: Phaidon Press, 1952. Listed and illustrated as catalogue raisonné no.192 on pg. 92.
5. Nowell-Usticke, G.W. Rembrandt’s Etchings. Narberth, 1988. Listed and illustrated as catalogue raisonné no. 73.
6. Schwartz, Gary. Rembrandt: All the etchings reproduced in true size. New York, 1977. Listed and illustrated as B 73.
7. White, Christopher & Karel Boon. Rembrandt’s Etchings, Vol. I: Text. Amsterdam, 1969. Listed as catalogue raisonné no. B.73 on pg. 38-39.
8. White, Christopher & Karel Boon. Rembrandt’s Etchings, Vol. II: Plates. Amsterdam, 1969. Illustrated as catalogue raisonné no. B.73 on pg. 60-63.
Created in c.1632, this original etching is signed in the plate by Harmensz van Rijn Rembrandt (Leiden, 1606 – Amsterda, 1669), ‘RHL van Ryn f.’ According to Nowell-Usticke, a VIII (of X) impression.
- Rights Advisory: No known restrictions on publication.
- Reproduction Number: LC-USZ72-167 (b&w film copy neg.)
- Call Number: FP – XVII – R385, no. 72 (A size) [P&P]
- Access Advisory: —
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