The Raising of Lazarus
The miraculous story of the resurrection of Lazarus, which takes place shortly before the Last Supper, is recorded in the Gospel of John, chapter 11. Jesus travels to Bethany to visit Lazarus, his friend who is very ill but unfortunately arrives too late; Lazarus died four days previously. Lazarus’s sisters, Martha and Mary, are devastated, but Christ tells Martha that if she has faith, he will bring her brother back to life.
In Muller’s engraving, Christ stands in the middle of a crowd, quietly raising his arm in a gesture of both blessing and power, calling Lazarus back from the grave. The astonished witnesses, in contrast, gesticulate dramatically around him. Among them are the sisters — one kneels on the ground, her arms outstretched to her brother, while the other looks up devotedly toward Jesus. Muller uses long lines of dense hatching, interspersed with the blank area of the paper to create a flickering surface against the dark background, enhancing the dramatic effect of the scene.
Jan Muller was one of the most sought-after Mannerist printmakers, engraving compositions of the leading artists of the late sixteenth and early seventeenth centuries. In the mid- to late 1590s and early 1600s, he made a handful of spectacular night scenes, including the Last Supper after Gillis Coignet (2018.839.109), the Dead Christ Lamented by an Angel after Jacopo Ligozzi (61.658.11), two original designs by Muller, Belshazzar’s Feast (51.501.6341) and The Adoration of the Magi (51.501.6340 and 67.810.2), and the present work. It is Muller’s only engraving after Abraham Bloemaert, the prolific painter and draftsman, and is based on a drawing now in the Museum der bildenden Künste, Leipzig (inv. no. N.I.392).
In Muller’s engraving, Christ stands in the middle of a crowd, quietly raising his arm in a gesture of both blessing and power, calling Lazarus back from the grave. The astonished witnesses, in contrast, gesticulate dramatically around him. Among them are the sisters — one kneels on the ground, her arms outstretched to her brother, while the other looks up devotedly toward Jesus. Muller uses long lines of dense hatching, interspersed with the blank area of the paper to create a flickering surface against the dark background, enhancing the dramatic effect of the scene.
Jan Muller was one of the most sought-after Mannerist printmakers, engraving compositions of the leading artists of the late sixteenth and early seventeenth centuries. In the mid- to late 1590s and early 1600s, he made a handful of spectacular night scenes, including the Last Supper after Gillis Coignet (2018.839.109), the Dead Christ Lamented by an Angel after Jacopo Ligozzi (61.658.11), two original designs by Muller, Belshazzar’s Feast (51.501.6341) and The Adoration of the Magi (51.501.6340 and 67.810.2), and the present work. It is Muller’s only engraving after Abraham Bloemaert, the prolific painter and draftsman, and is based on a drawing now in the Museum der bildenden Künste, Leipzig (inv. no. N.I.392).
Artwork Details
- Title: The Raising of Lazarus
- Artist: Jan Muller (Netherlandish, Amsterdam 1571–1628 Amsterdam)
- Artist: After Abraham Bloemaert (Netherlandish, Gorinchem 1566–1651 Utrecht)
- Publisher: Harmen Jansz. Muller (Netherlandish, Amsterdam ca. 1540–1617 Amsterdam)
- Date: ca. 1600
- Medium: Engraving; New Holl.'s second state of three
- Dimensions: Sheet: 14 5/16 × 18 7/8 in. (36.4 × 48 cm)
- Classification: Prints
- Credit Line: The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1949
- Object Number: 49.95.578
- Curatorial Department: Drawings and Prints
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