Who painted Buried with Him by Baptism?

Buried with Him by Baptism was painted by Paul Revere in 1765.

Where can I see Buried with Him by Baptism?

Buried with Him by Baptism is held by National Gallery of Art.

What movement is Buried with Him by Baptism?

Buried with Him by Baptism is associated with Romanticism.

Artwork

Buried with Him by Baptism

Paul Revere , 1765

Buried with Him by Baptism is an ink print by the Romanticist artist Paul Revere. It dates from 1765 and is held in the collection of the National Gallery of Art.

About this work

Overview

The image presents a religious tableau that combines narrative detail with symbolic elements, typical of mid‑ eighteenth‑century colonial visual culture.

Buried with Him by Baptism is an early American print, executed as an engraving on laid paper around 1765. The work is attributed to Paul Revere, best known for his role in the Revolutionary era, and reflects his lesser‑known activity as a printmaker. The image presents a religious tableau that combines narrative detail with symbolic elements, typical of mid‑ eighteenth‑century colonial visual culture.

Subject & Meaning

The composition depicts a baptismal rite: a figure stands in water holding an infant, while a radiant light descends from above and a dove hovers nearby, both traditional symbols of divine presence and the Holy Spirit. On either side, onlookers gather—spectators on the right and a modest riverside settlement on the left—suggesting communal participation in the act of spiritual rebirth.

Technique & Style

Revere employed fine, cross‑hatching lines to model light and shadow, creating a sense of depth within the flat paper surface. The engraving technique allows for intricate textures, from the rippling water to the delicate feathering of the dove. The overall style balances illustrative clarity with a modest decorative flair, aligning with contemporary colonial print aesthetics.

History & Provenance

Created circa 1765, the print belongs to the period when Revere was establishing his silver‑working and engraving workshop in Boston. Though primarily known for his political activities, this work demonstrates his engagement with religious and moral subjects. The print has survived in several collections, indicating it was reproduced and circulated among colonial audiences interested in devotional imagery.