La Résurrection de Lazare, Le Guerchin, 1e quart du XVIIe siècle (1600 - 1625)
Giovanni Francesco Barbieri, called Guercino, PorträtGiovanni Francesco Barbieri, called GuercinoItalien, 1591–1666

La Résurrection de Lazare

1e quart du XVIIe siècle (1600 - 1625) · Peintures

Kann ich es sehen?

Ja, derzeit ausgestellt

Wo ist „La Résurrection de Lazare“ heute? Louvre, Salle 712, Aile Denon, Niveau 1, Paris. Ja, derzeit ausgestellt. Geprüft 26. September 2026.

Louvre

Paris, Frankreich

Saal712, Aile Denon, Niveau 1

Geschlossen· öffnet um 9:00

Öffentlich ausgestellt.

Geprüft
Unverändert seit
Quelle
Das Museum

Über das Gemälde

The Raising of Lazarus is a 1619 oil-on-canvas painting by the Italian Baroque artist Guercino, now in the Louvre Museum in Paris. A preparatory sketch for the work is now in the Metropolitan Museum of Art,

In 1682 it was recorded as being in the Naples collection of the brothers Carlo and Francesco Garofali. It was still in that city when Vivant Denon bought it for Louis XVI for 26,000 livres in 1785 and after the French Revolution it was exhibited at the Muséum des Arts. J. M. W. Turner saw it during the Peace of Amiens in 1802 and a copy of it appears in his "Louvre Sketchbook".

WikipediaCC BY-SA

Angaben

Inventarnummer
INV 77

Im Katalog

Quellen

  • Louvre
  • Bild: Louvre — © 1990 GrandPalaisRmn (musée du Louvre) / Gérard Blot

Im Leben von Giovanni Francesco Barbieri, called Guercino

Das ganze Leben
  1. 1621

    Moves to Rome, to the court of Gregory XV

    Marchese Enzo Bentivoglio recommended Guercino to the newly elected Pope Gregory XV, the Bolognese Alessandro Ludovisi. His Roman years (1621–1623) were the most productive of his life; the portrait of the pope (now in the Getty Museum) dates from them.

  2. 1623

    Returns to his native Cento

    After the death of Pope Gregory XV, Guercino left Rome and returned to his hometown.

  3. 1623

    Ottavio Leoni draws his portrait

    The portrait emphasises the permanent squint that gave the artist his nickname. Guercino's right eye was apparently 'lazy' and he presumably had monocular vision — which did not stop him conveying depth remarkably well.

Alle Werke

Im selben Saal · Salle 712, Aile Denon, Niveau 1, Louvre

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