Who painted Discovery of Joseph's Cup?

Discovery of Joseph's Cup was painted by Giovanni Antonio da Brescia in 1523.

Where can I see Discovery of Joseph's Cup?

Discovery of Joseph's Cup is held by National Gallery of Art.

What movement is Discovery of Joseph's Cup?

Discovery of Joseph's Cup is associated with Renaissance.

Artwork

Discovery of Joseph's Cup

Giovanni Antonio da Brescia , 1523

Discovery of Joseph's Cup is an ink print by the Renaissance artist Giovanni Antonio da Brescia. It dates from 1523 and is held in the collection of the National Gallery of Art.

About this work

Overview

Created circa 1523, this copper engraving by Giovanni Antonio da Brescia portrays the biblical episode in which Joseph’s silver cup is discovered hidden in Benjamin’s sack. The composition is densely populated with figures in contemporary dress, two horned donkeys, and assorted objects scattered on the ground, conveying a moment of sudden revelation and tension.

Subject & Meaning

The image illustrates the narrative from Genesis in which Joseph, testing his brothers, finds his cup concealed among Benjamin’s belongings. The central figure clutching the cup and the startled onlookers emphasize themes of accusation, familial distrust, and the unfolding of divine providence within the patriarchal story.

Technique & Style

Executed with meticulous cross‑hatching, the engraving achieves subtle tonal variations through intersecting lines that model shadows on clothing, animal fur, and architectural fragments. The fine linear work highlights texture and depth, while the crowded arrangement and dynamic gestures reflect the artist’s engagement with Renaissance compositional vigor.

History & Provenance

Giovanni Antonio da Brescia, an active engraver in northern Italy during the late 15th and early 16th centuries, initially signed works with the monogram “Z.A.” before adopting the more elaborate “IO.AN.BX.” around 1507. This print, dated to the early 1520s, exemplifies his mature period and contributes to the corpus of religious prints circulated in Renaissance workshops.

Context

The work belongs to a broader tradition of biblical prints that served both devotional and didactic purposes in the Italian Renaissance. By rendering a well‑known Old Testament episode in a format suitable for wide distribution, the engraving reflects contemporary interest in scriptural illustration and the spread of printed imagery beyond elite patronage.