Who painted The Raising of Lazarus?

The Raising of Lazarus was painted by Unknown in 1615.

Where can I see The Raising of Lazarus?

The Raising of Lazarus is held by Statens Museum for Kunst.

What movement is The Raising of Lazarus?

The Raising of Lazarus is associated with Baroque.

Artwork

The Raising of Lazarus

Unknown , 1615

The Raising of Lazarus is a photography by the Baroque artist Unknown. It dates from 1615 and is held in the collection of the Statens Museum for Kunst. Created in 1615 by the artist known as 1976_person, this oil painting depicts the biblical episode of Lazarus’s resurrection.

About this work

Overview

Created in 1615 by the artist known as 1976_person, this oil painting depicts the biblical episode of Lazarus’s resurrection. The work is part of the collection of the Museum of Ethnography and exemplifies the dramatic visual language of the Baroque period.

Subject & Meaning

The composition centers on a half‑clothed figure emerging from an open tomb, his gaze fixed on his own hands as onlookers react with astonishment. A man in a blue robe gestures upward, while a woman in a gold dress kneels beside the tomb, emphasizing themes of divine intervention and human wonder.

Technique & Style

Employing the chiaroscuro characteristic of Baroque art, the painter contrasts the luminous interior of the tomb with the richly colored garments of the surrounding crowd. The dynamic arrangement of figures and the use of movement convey a sense of immediacy and emotional intensity.

History & Provenance

Since its completion in the early seventeenth century, the canvas has remained in institutional care, eventually entering the holdings of the Museum of Ethnography. Its provenance records do not indicate any major private ownership before its museum acquisition.

Context

The work reflects the Counter‑Reformation’s emphasis on miraculous narratives, aligning with contemporary religious commissions that sought to inspire devotion through vivid, theatrical representation. Its Baroque sensibility places it among other seventeenth‑century depictions of biblical miracles.