Who painted The Assumption with the Cherubin?

The Assumption with the Cherubin was painted by Jacques Callot in 1617.

Where can I see The Assumption with the Cherubin?

The Assumption with the Cherubin is held by National Gallery of Art.

What movement is The Assumption with the Cherubin?

The Assumption with the Cherubin is associated with Baroque.

Artwork

The Assumption with the Cherubin

Jacques Callot , 1617

The Assumption with the Cherubin is an ink print by the Baroque artist Jacques Callot. It dates from 1617 and is held in the collection of the National Gallery of Art.

About this work

Overview

Created circa 1617, this black‑and‑white print by Jacques Callot presents a religious tableau of the Assumption. Executed as an etching on laid paper, the composition centers on a robed, ascending figure surrounded by clouds and cherubic attendants, while a congregation gathers around a modest altar below.

Subject & Meaning

The work illustrates the Catholic doctrine of the Virgin’s bodily ascent to heaven, a theme frequently rendered in Counter‑Reformation art. The cherubs, positioned above the central figure, serve both as celestial witnesses and as visual guides that draw the viewer’s eye upward, reinforcing the notion of divine elevation.

Technique & Style

Callot employed fine, incised lines to render delicate textures such as the folds of garments, feathered wings, and atmospheric clouds. The precision of his etching technique allows intricate detail within a relatively compact space, characteristic of his broader oeuvre that balances narrative clarity with ornamental richness.

History & Provenance

Born in the Duchy of Lorraine, Callot was a prolific printmaker whose career spanned the early 17th century. By the time he produced this piece, he had already issued hundreds of prints documenting military life, courtly scenes, and religious subjects, establishing his reputation across Europe.

Context

The Assumption reflects the Baroque period’s emphasis on dramatic movement and emotional engagement. Callot’s choice of etching—a medium that permitted rapid production and wide dissemination—aligned with the era’s demand for accessible religious imagery that could reinforce doctrinal messages among a broad audience.