Lot 1231 D α

The present work depicting the raising of Lazarus is a replica by Hans Rottenhammer of a copper panel of his kept in the Kunsthistorisches Museum in Vienna (inv. no. GG1141). This piece largely follows the composition of the Vienna panel, but the direct comparison enabled by an exhibition featuring both pieces in the Weserrenaissance-Museum revealed this work to be in much more well preserved condition (cf. exhib. cat. Brake 2008, op. cit., p. 115f).
The piece depicts a story related in the Gospel of John (11:1-44) in which Jesus was called to Bethany by the sisters Mary and Martha to visit their dying brother Lazarus. However, when Christ arrived, Lazarus was already dead and buried. Jesus then had the grave opened and awoke Lazarus from the dead, but before this he spoke the famous words to Martha “I am the resurrection, and the life: he that believeth in me, though he were dead, yet shall he live” (11:25). Rottenhammer depicts the scene in a densely populated composition, which captures all the drama of the scene despite its small format. Christ is depicted on the left, his vivid red robes contrasting starkly with the mass of thronging figures. He looks toward the awakened figure of Lazarus in the rock grave in the upper left.
The choice to depict a rock tomb instead of the more usual earth grave allows Rottenhammer to introduce a diagonal axis between the two main protagonists, creating a more dynamic image. The theatrical element is further emphasised by the gestures of astonishment, shock and joy expressed by the figures grouped around Christ and Lazarus. To the left of Jesus, we see how Mary Magdalene (whose vivid yellow gown and red cloak also help to distinguish her from the other figures) sinks to her knees in joy and Martha is shown beside her, looking at Christ in amazement.
The glowing colours and figural composition of this work illustrate Rottenhammer's debt to the painting tradition of Venice. The artist resided there from 1591 to 1594 and again, following a stay in Rome, from 1595 to 1606. The present work was probably painted at the beginning of this second Venice period. Rottenhammer was later to return to the motif of the raising of Lazarus, and several drawings of this subject also survive.