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| Cornelis Schut, Resurrection Flemish, Before 1628 Cologne, Walraf-Richartz Museum |
As the iconography of the Resurrection expanded, we have seen that each stage became more animated, less static, as it developed, progressing from the image of Christ climbing out of the tomb to that of His hovering in the space above it. Toward the beginning of the fifteenth century the final level of energy emerged in both northern and southern Europe. In this final level Christ no longer climbs from the tomb or hovers above it, He literally bursts from the tomb in a blast of energy.
These images derive from the earlier “hovering” images. However, they are not serenely triumphant; in them the posture of Christ suggests a great deal of inherent energy. In these images the figure of Jesus seems to spring out of the tomb and soar upward. The impression of energy is reinforced by His posture as well as by the seeming movement of His draperies and banner, which seem to flutter in the wind generated by His rapid movement.
Unlike in the images of climbing and hovering His feet are not pictured as being flattened as for standing, but instead are pointed downward, increasing the effect of aerodynamics created by the fluttering garments and banner. He is sometimes assisted by angels who move the lid of the sarcophagus or stone at the portal or who may be simple adorers.
The guards, clustered at the bottom of the picture, are no longer mainly asleep, although some are. However, more often they now cower in fear and awe, attempt to flee or shield their eyes from His glory.
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| Giovanni da Ponte, Resurrection Italian, 15th Century Minneapolis, Minneapolis Institute of Arts |
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Paolo Uccello, Resurrection
Italian, 1443-1445
Florence, Cathedral
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| Guillaume Hugueniot, Resurrection from Hours of Pierre de Bosredont French (Burgundy), c. 1470-1529 New York, Pierpont Morgan Library MS G 55, fol. 61r |
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| Pietro di Francesco degli Orioli, Resurrection Italian, c. 1475 Cambridge (UK), Fitzwilliam Museum |
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| Hans Memling, Resurrection Right wing of Crucifixion Triptych German, 1480s Budapest, Szepmuveszeti Muzeum |
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| Jan Joest von Kalkar, Resurrection Dutch, 1508 Kalkar Kreis Kleve, Catholic Parish Church of St.Nickolas |
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| Matthias Grünewald, Resurrection Wing from the Isenheim Altar German, ca. 1515 Colmar, Musée d'Unterlinden |
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| Benvenuto Tisi called Il Garofalo Resurrection Italian, 1520 Vienna, Kunsthistorisches Museum |
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Titian, Resurrection
Italian, 1520-1525
Brescia, Church of Saints Nazario e Celso
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| Giovanni Capassini, Resurrection Italian, 1555 Tournon, Lycée Gabriel Fauré
One could say that this image brings together Grünewald and Titian and adds the plummeting figure of defeated Death in the form of a skeleton plunging head downward to earth with his spear. I am not able to make out the words in the plaque near the head of the skeleton, but they may be "Where, O Death, is your victory? Where, O Death, is your sting?" from St. Paul (1 Corinthians 15:55)
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| Bronzino, Resurrection Italian, 1552 Florence, Church of Santissima Annunziata |
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| Francesco Bassano, Resurrection Italian, 1584-1588 Venice, Church of Santissimo Redentore |
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| Antoine Caron, Resurrection French, 1589 Beauvais, MUDO, Musée de l'Oise Here Jesus almost appears to be executing the steps of a courtly dance in the air as He breaks forth from the tomb. |
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| El Greco, Resurrection Greco-Spanish, 1597-1500 Madrid, Museo Nacional del Prado |
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| Il Passignano, Resurrection Italian, 1600-25 Vatican, Musei Vaticani, Pinacoteca
Passignano's work includes several Biblical quotations. Directly under the feet of Jesus it reads "Absorpta est
mors in victoria", meaning "Death is swallowed up in victory" (1 Corinthians 15:54). At the bottom of the painting
it reads "Notas mihi fecisti vias vitæ; adimplebis me lætitia cum vultu tuo" or "You will show me the path to life,
abounding joy in your presence" (Psalm 16:11).
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| Paolo Veronese, Resurrection Italian, 1570-1575 Dresden, Staatliche Kunstsammlungen, Gemäldegalerie Alte Meister |
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| Paolo Veronese, Resurrection Italian, 1570s St. Petersburg, State Hermitage Museum |
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| Paolo Veronese, Resurrection Italian, c. 1580-1590 Vienna, Kunsthistorisches Museum |
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| Annibale Carracci, Resurrection Italian, c. 1600 Montpelier, Musée Fabre |
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| Paulus Willemszoon van Vianen, Resurrection Dutch, 1605 Amsterdam, Rijksmuseum |
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| Pieter Lastman, Resurrection Dutch, 1612 Los Angeles, J. Paul Getty Museum |
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Salvatore Rosa, Resurrection
Italian, c. after 1622
Chantilly, Musée Condé
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| Anthony van Dyck, Resurrection Flemish, c. 1631-1632 Hartford (CT), Wadsworth Athenaeum |
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| Bartholomeus Breenbergh, Resurrection Dutch, c. 1635 Chicago, Art Institute |
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| Alessandro Turchi, Resurrection Italian, c. 1640-1649 Bordeaux, Musée des Beaux-Arts |
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| Jan Boeckhorst, Resurrection The Snyders Triptych Center German, 1659 Los Angeles, Los Angeles County Museum of Art |
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| Luca Giordano, Resurrection Italian, After 1665 Salzburg, Residenzgalerie |
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| Samuel van Hoogstreten, Resurrection Dutch, 1665-1670 Chicago, Art Institute |
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| Sebastiano Ricci, Resurrection Italian, c. 1715-1716 Dulwich (UK), Dulwich Picture Gallery |
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| Jean Francois de Troy, Resurrection French, 1739 Los Angeles, Los Angeles County Museum of Art |
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| Franz Xaver Wagenschoen, Resurrection Austrian, c. 1750-1770 Vienna, Belvedere Museum |
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| Laurent Pecheux, Resurrection French, c. 1764 Dôle, Musée des Beaux-Arts |
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| Nicola Guibal, Resurrection French, 1764-1766 Stuttgart, Schloss Solitude, Chapel |
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| Attributed to Januarius Zick, Resurrection German, c. 1770 Glastonbury (UK), Glastonbury Abbey |
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| Eugene Deveria, Resurrection French, 1835 Pau, Musée des Beaux-Arts |
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| James Tissot. Resurrection French, 1886-1894 New York, Brooklyn Museum |
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| Samuel Lawson Booth, Resurrection British, c. 1880-1890 Southport (UK), Atkinson Art Gallery |
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| Georges Rouault, Resurrection French, 1934 Paris, Centre national d'art et de culture Georges-Pompidou |
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