The Resurrection of Christ

La Farge employed watercolor to simulate the translucency of stained glass, using soft edges and layered washes to achieve luminous effects. The contrast between the radiant figure and the dark, shadowed tomb reflects a refined use of chiaroscuro, adapted from painting traditions to suit the demands of glass design. His technique bridges fine art and craft, emphasizing light as a material element.

Created in the 1880s, the drawing was part of La Farge’s process for the north transept’s west wall window at Trinity Church. It remained in his possession until his death, later entering institutional collections. Its survival offers rare insight into his methodical approach to large-scale ecclesiastical commissions, where each color choice had structural and optical consequences.

During this period, American artists were redefining religious art through modern techniques and materials. La Farge, influenced by European Gothic revival and Japanese aesthetics, sought to elevate stained glass beyond traditional iconography. This study reflects a broader movement toward integrating artistic innovation with sacred architecture in post-Civil War America.

The drawing stands as a testament to La Farge’s role in transforming stained glass into a vehicle for painterly expression. It influenced later artists who treated glass not merely as a medium for illustration but as a dynamic interplay of light and color. Its preservation continues to inform conservation and interpretation of 19th-century ecclesiastical art.