The Raising of Lazarus

Historical Context

Gozzoli's Raising of Lazarus from the mid-1490s depicts the miracle in which Christ raises Mary and Martha's brother Lazarus from the dead, the event that precipitated the conspiracy to arrest Jesus. By this late date Gozzoli was in his seventies and working at Pisa, his long career spanning from apprenticeship with Ghiberti and Angelico through the great fresco cycles in Palazzo Medici Riccardi and at San Gimignano. The painting shows his mature narrative competence: the crowd of witnesses arranged to convey astonishment, Christ's authoritative gesture commanding life, and Lazarus emerging from his tomb. Though his style changed little over the decades, Gozzoli maintained a consistent demand for his narrative clarity and decorative richness from ecclesiastical patrons who valued these qualities over stylistic innovation.

Technical Analysis

Gozzoli's oil on canvas shows his late technique with clear narrative composition, vivid characterization of the witnesses, and the warm color that characterizes his lifelong approach to religious storytelling.

Provenance

Cav. Gualtiero Kennedy Laurie, Florence, by 1859.[1] William Blundell Spence [1814-1900], Florence.[2] (Haskard and Co., Florence) on joint account with (Charles Fairfax Murray, London and Florence), for (Thomas Agnew & Sons, Ltd., London);[3] purchased 15 August 1897 by Peter A.B. Widener, Lynnewood Hall, Elkins Park, Pennsyvlania;[4] inheritance from Estate of Peter A.B. Widener by gift through power of appointment of Joseph E. Widener, Elkins Park, Pennsylvania; gift 1942 to NGA. [1] According to the "Check list of paintings and sculptures handled by Spence" in John Fleming, "Art Dealing in the Risorgimento. Part 3," _The Burlington Magazine_ 121, no. 918 (September 1979): 579. Laurie lent two paintings to the 1861 exhibition in Florence, NGA 1942.9.24 and a _Deposition_ attributed to Paolo Veronese; nothing else is yet known about him. [2] The date of the painting's passage to Spence's collection is unknown. On Spence see also Donata Levi, "William Blundell Spence e Firenze," in _Studi e ricerche di collezionismo e museografia a Firenze, 1820-1920_, Pisa, 1985: 87-178. [3] According to the Getty Provenance Index; the painting was Agnew's stock number 7907. The 1900 catalogue of the Widener collection indicates the painting was "purchased in Italy by Messrs. Thos. Agnew & Sons." [4] Widener collection records, in NGA curatorial files.

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National Gallery of Art

Washington, D.C., United States

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