Who painted The rapture of Saint Paul?

The rapture of Saint Paul was painted by Johann Liss in 1627.

Where can I see The rapture of Saint Paul?

The rapture of Saint Paul is held by Gemäldegalerie Berlin.

What movement is The rapture of Saint Paul?

The rapture of Saint Paul is associated with Early Baroque Italian.

Can I buy a print of The rapture of Saint Paul?

Museum-quality prints of The rapture of Saint Paul are available made-to-order from Artifact World Gallery.

Artwork

The rapture of Saint Paul

Johann Liss , 1627

The rapture of Saint Paul is an oil painting by the Early Baroque Italian artist Johann Liss. It dates from 1627 and is held in the collection of the Gemäldegalerie Berlin.

About this work

Overview

Johann Liss, a German painter who worked in Venice, completed *The Rapture of Saint Paul* in 1627. Executed in oil on canvas, the work belongs to the early phase of the Italian Baroque and is presently displayed in Berlin’s Gemäldegalerie. The composition centers on the apostle Paul amid a luminous, theatrical setting that highlights the period’s interest in dramatic narrative.

Subject & Meaning

The painting captures the biblical moment when Saint Paul experiences a divine vision, his arms outstretched and gaze lifted toward the heavens. Surrounding him are angels playing instruments, suggesting a celestial celebration of the saint’s spiritual awakening. The contrast between the dark surroundings and the radiant light underscores the transformative nature of the encounter.

Technique & Style

Liss employs a restrained palette of browns and grays, allowing the intense, warm light to dominate the scene. The chiaroscuro treatment creates deep shadows that frame the illuminated figures, while the delicate rendering of the angels’ instruments adds texture. The brushwork combines the fluidity of Venetian colorism with the dramatic vigor typical of early Baroque painting.

History & Provenance

After its creation in 1627, the canvas entered various private collections before being acquired by the Gemäldegalerie in Berlin, where it remains part of the museum’s Baroque holdings. Documentation traces its ownership through 18th‑century European dealers, confirming its continuous appreciation as a representative work of Liss’s Venetian period.

Context

Liss’s career bridged Northern and Southern artistic traditions; his move to Venice exposed him to the city’s luminous color techniques, which he integrated with the vigorous composition favored by German Baroque artists. *The Rapture of Saint Paul* exemplifies this synthesis, reflecting both the devotional focus of Counter‑Reformation art and the emerging theatricality of early 17th‑century visual culture.