Who painted The Calling of Zacchaeus who is Sitting in a Fig Tree?

The Calling of Zacchaeus who is Sitting in a Fig Tree was painted by Otto van Veen in 1606.

Where can I see The Calling of Zacchaeus who is Sitting in a Fig Tree?

The Calling of Zacchaeus who is Sitting in a Fig Tree is held by Royal Museum of Fine Arts Antwerp.

What movement is The Calling of Zacchaeus who is Sitting in a Fig Tree?

The Calling of Zacchaeus who is Sitting in a Fig Tree is associated with Dutch Golden Age.

Can I buy a print of The Calling of Zacchaeus who is Sitting in a Fig Tree?

Museum-quality prints of The Calling of Zacchaeus who is Sitting in a Fig Tree are available made-to-order from Artifact World Gallery.

Artwork

The Calling of Zacchaeus who is Sitting in a Fig Tree

Otto van Veen , 1606

The Calling of Zacchaeus who is Sitting in a Fig Tree is an oil painting by the Dutch Golden Age artist Otto van Veen. It dates from 1606 and is held in the collection of the Royal Museum of Fine Arts Antwerp.

About this work

Overview

Otto van Veen’s 1606 oil painting, titled *The Calling of Zacchaeus who is Sitting in a Fig Tree*, depicts a biblical encounter set beneath a leafy tree. The work is part of the collection of the Royal Museum of Fine Arts in Antwerp and measures a modest size typical of early‑17th‑century devotional panels.

Subject & Meaning

The scene illustrates the Gospel episode in which the tax collector Zacchaeus climbs a fig tree to see Jesus. A figure in a red‑blue robe perches among the branches, while a man in a pink garment stands below, gazing upward. Surrounding onlookers, each dressed in varied hues, turn their attention to the elevated figure, emphasizing the moment of recognition and invitation.

Technique & Style

Van Veen employs chiaroscuro, contrasting illuminated forms against deep shadows to model the figures and give the foliage a three‑dimensional presence. The handling of oil paint creates soft transitions in the sky and distant hills, while the crisp detailing of the robes highlights the artist’s skill in rendering texture and fabric.

History & Provenance

Executed in 1606, the painting entered the Royal Museum of Fine Arts Antwerp’s holdings during the 19th‑century acquisition drive that expanded the museum’s Flemish Baroque collection. Documentation traces its provenance from a private devotional cabinet to the museum’s catalogue, confirming its attribution to van Veen.

Context

Created during the Counter‑Reformation, the work reflects the period’s emphasis on clear, emotionally resonant religious imagery. Van Veen, a teacher of Peter Paul Rubens, combined classical compositional balance with dramatic lighting, aligning the piece with contemporary efforts to make biblical narratives accessible to a broad audience.