Who painted 'The Resurrection', a bas-relief by J. Redfern?

'The Resurrection', a bas-relief by J. Redfern was painted by Unknown in 1862.

Where can I see 'The Resurrection', a bas-relief by J. Redfern?

'The Resurrection', a bas-relief by J. Redfern is held by Victoria and Albert Museum.

What movement is 'The Resurrection', a bas-relief by J. Redfern?

'The Resurrection', a bas-relief by J. Redfern is associated with Impressionism.

Artwork

'The Resurrection', a bas-relief by J. Redfern

Unknown , 1862

'The Resurrection', a bas-relief by J. Redfern is a photographic photography by the Impressionist artist Unknown. It dates from 1862 and is held in the collection of the Victoria and Albert Museum. A stereoscopic photograph from 1862 captures a bas-relief sculpture titled *The Resurrection*, created by J.

About this work

Overview

The photograph’s yellow-backed mount includes the title and artist’s name, anchoring the image to its original context.

A stereoscopic photograph from 1862 captures a bas-relief sculpture titled *The Resurrection*, created by J. Redfern and exhibited in the Mediaeval Court at the Great Exhibition in London. The image, part of a numbered series of stereoscopic views, preserves the sculpture’s composition in monochrome, offering a three-dimensional glimpse of the work as it appeared in the exhibition setting. The photograph’s yellow-backed mount includes the title and artist’s name, anchoring the image to its original context.

Subject & Meaning

The relief depicts a biblical scene centered on a standing figure, likely Christ, emerging from a tomb or celestial realm. Surrounding figures, draped in flowing robes, gesture in reverence or prayer, suggesting a moment of divine revelation. The composition emphasizes spiritual awe rather than narrative detail, aligning with Victorian interpretations of sacred themes through symbolic, rather than literal, representation.

Technique & Style

The bas-relief is carved with moderate depth, allowing subtle modeling of drapery and facial expressions while maintaining a flat, wall-bound presence. The sculptural style reflects a revivalist approach, drawing from medieval precedents in its elongated forms and restrained ornamentation. The photograph’s stereoscopic format enhances the illusion of depth, complementing the relief’s low projection and reinforcing the exhibition’s aim to educate through immersive display.

History & Provenance

The sculpture was exhibited as item 195 in the Mediaeval Court of the 1862 Great Exhibition in London, a showcase dedicated to historical and ecclesiastical art. Its inclusion suggests recognition within contemporary circles interested in medieval revivalism. The photograph’s survival indicates it was part of a commercial or educational series, likely distributed to document the exhibition’s artifacts for public and scholarly audiences.

Context

The Great Exhibition of 1862 emphasized the intersection of industry, history, and faith, with the Mediaeval Court serving as a curated space for religious art inspired by pre-Reformation traditions. Redfern’s relief, though not ancient, aligned with this ethos by evoking medieval aesthetics. Stereoscopic photography, then emerging as a tool for visual education, allowed viewers to experience such works remotely, bridging the gap between exhibition halls and private collections.

Legacy

Though the original bas-relief’s current location is unrecorded, the photograph preserves its form and exhibition context. It stands as evidence of 19th-century efforts to revive and reinterpret religious sculpture through modern display technologies. The image contributes to the study of how sacred art was mediated to Victorian audiences, reflecting broader cultural interests in historical continuity and visual technology.