Who painted The Consecration of a Bishop?

The Consecration of a Bishop was painted by Pieter Claesz Soutman in 1618.

Where can I see The Consecration of a Bishop?

The Consecration of a Bishop is held by National Gallery of Art.

What movement is The Consecration of a Bishop?

The Consecration of a Bishop is associated with Renaissance.

Artwork

The Consecration of a Bishop

Pieter Claesz Soutman , 1618

The Consecration of a Bishop is an ink print by the Renaissance artist Pieter Claesz Soutman. It dates from 1618 and is held in the collection of the National Gallery of Art.

About this work

Overview

Pieter Claesz Soutman’s 1618 print, titled The Consecration of a Bishop, is executed as an etching with engraving on laid paper.

Pieter Claesz Soutman’s 1618 print, titled The Consecration of a Bishop, is executed as an etching with engraving on laid paper. The work presents a solemn gathering of robed figures, centered on a seated cleric whose hands are clasped in prayer, while other attendants hold staffs and books. Above the assembly, additional robed figures appear suspended in the sky, reinforcing the ritual atmosphere.

Subject & Meaning

The central seated figure is identified as a bishop undergoing consecration, a rite that confers episcopal authority. The surrounding men, likely clergy and witnesses, support the ceremony through their gestures and objects, suggesting the transmission of ecclesiastical power. The celestial figures above may symbolize divine approval or the spiritual realm overseeing the ordination.

Technique & Style

Soutman combines etching and engraving techniques, using the fine lines of engraving to define intricate details such as the folds of robes and the texture of the paper, while broader etched areas convey depth and atmosphere. The laid paper surface adds a subtle grain that enhances the print’s tonal range, typical of early‑17th‑century Dutch printmaking.

History & Provenance

Created in 1618, the print reflects Soutman’s activity during the Dutch Golden Age, a period when religious subjects were often rendered for private devotion or commemorative purposes. While specific ownership records are scarce, the work has been catalogued in several collections of early modern prints, indicating its circulation among collectors of religious imagery.