Who painted The Raising of Lazarus?

The Raising of Lazarus was painted by Gaetano Zompini in 1758.

Where can I see The Raising of Lazarus?

The Raising of Lazarus is held by National Gallery of Art.

What movement is The Raising of Lazarus?

The Raising of Lazarus is associated with Baroque.

Can I buy a print of The Raising of Lazarus?

Museum-quality prints of The Raising of Lazarus are available made-to-order from Artifact World Gallery.

Artwork

The Raising of Lazarus

Gaetano Zompini , 1758

The Raising of Lazarus is an ink print by the Baroque artist Gaetano Zompini. It dates from 1758 and is held in the collection of the National Gallery of Art.

About this work

Overview

Gaetano Zompini’s 1758 print, titled *The Raising of Lazarus*, is executed as an etching in sanguine on laid paper. The composition captures a tense moment surrounding an open tomb, populated by a small crowd whose gestures convey shock, anticipation, and reverence. The work’s limited palette of reddish-brown tones and its stark contrasts give the scene a somber, urgent atmosphere.

Subject & Meaning

The image portrays the biblical episode in which Lazarus is called forth from death. A kneeling figure leans over the opened grave, while another individual stands upright with arms extended, suggesting a plea or proclamation. Surrounding onlookers react with a mixture of awe and anxiety, some shielding their faces, underscoring the dramatic tension between life, death, and divine intervention.

Technique & Style

Zompini employed the etching process, incising lines into a metal plate before printing onto laid paper. The sanguine medium—an iron-oxide pigment—produces a warm, blood‑like hue that enhances the emotional intensity. Rough, layered strokes and varied hatching create depth and chiaroscuro, while the irregular, scratch‑like lines convey immediacy, characteristic of mid‑18th‑century printmaking.

History & Provenance

Created in 1758, the work reflects Zompini’s engagement with religious narratives during the late Baroque period. Though specific ownership records are scarce, the print has been catalogued in several European collections of 18th‑century graphic art, indicating its circulation among collectors interested in devotional imagery and technical experimentation of the era.