Who painted Christ driving the money-changers from the Temple?

Christ driving the money-changers from the Temple was painted by Unknown in 1590.

Where can I see Christ driving the money-changers from the Temple?

Christ driving the money-changers from the Temple is held by Kelvingrove Art Gallery and Museum.

What movement is Christ driving the money-changers from the Temple?

Christ driving the money-changers from the Temple is associated with Mannerism.

Artwork

Christ driving the money-changers from the Temple

Unknown , 1590

Christ driving the money-changers from the Temple is an oil painting by the Mannerist artist Unknown. It dates from 1590 and is held in the collection of the Kelvingrove Art Gallery and Museum. The work, titled *Christ Driving the Money‑Changers from the Temple*, is an oil painting that captures a moment of intense activity.

About this work

Overview

The work, titled *Christ Driving the Money‑Changers from the Temple*, is an oil painting that captures a moment of intense activity.

The work, titled *Christ Driving the Money‑Changers from the Temple*, is an oil painting that captures a moment of intense activity. A robed central figure stands on an elevated platform, brandishing a staff with one hand while gesturing forcefully with the other, as a crowd of agitated figures reacts around him. The composition conveys motion and conflict, set against a distant cityscape of buildings and trees.

Subject & Meaning

The scene illustrates the biblical episode in which Jesus expels merchants and money‑changers from the Jerusalem temple, a narrative symbolizing the rejection of commercial exploitation of sacred space. The central figure’s commanding posture and the surrounding turmoil emphasize the moral confrontation between spiritual authority and profiteering.

Technique & Style

Executed in oil on canvas, the painting employs a dynamic arrangement of figures that radiate outward from the central protagonist, creating a sense of kinetic energy. The use of contrasting light and shadow highlights the drama, while the background architecture is rendered with looser brushwork, allowing the foreground action to dominate the viewer’s attention.

Context

The composition reflects a longstanding tradition in Western art of visualizing New Testament confrontations, drawing on earlier Renaissance and Baroque depictions of the temple cleansing. By placing the event within an identifiable urban landscape, the artist links the ancient narrative to a more contemporary setting, underscoring its enduring relevance.