Among them are several that replicate structures in Lambert’s paintings—for example, a triple-arched bridge with exact counterparts in his fresco cycles. [3] Tancred Borenius, "A Seascape by Tintoretto," Apollo 2 (July-December 1925): 249. C79. The painting’s unusually thin pictorial technique, employing virtually no impasto, is also uncharacteristic of Tintoretto. Instead of a head between his shoulders, instead of skull, eye and mouth to say words, there is only a profile, or more exactly the shadow of a profile.” An example that shows how differently Tintoretto treats a comparable figure is provided in the Finding of the Body of Saint Mark (Pinacoteca di Brera, Milan); see Robert Echols, “Tintoretto, Christ at the Sea of Galilee, and the Unknown Later Career of Lambert Sustris,” Venezia Cinquecento 6, no. Le Moniteur universel of June 27, 1881, remarked: "Like Rubens, like Velazquez, like all the great See also Echols, “Tintoretto, Christ at the Sea of Galilee, and . Christ on the Sea of Galilee Eugène Delacroix 1854. An early prototype appears in Konrad Witz’s Saint Peter Altarpiece of 1444 (Musées d’Art et d’Histoire, Geneva). Mid-16th-century examples include Pieter Brueghel the Elder, Landscape with Christ at the Sea of Galilee (private collection, England), 1553, and Maerten van Heemskerck, Christ on the Sea of Tiberias (Bowes Museum, Barnard Castle, England), 1567; see Fritz Grossman, Bruegel: The Paintings, 2nd ed. Most scholars have considered the picture to be an autograph work by Tintoretto, and many have ranked it among his masterpieces. (London, 1966), 1: pl. 327 and 357; Robert Echols and Frederick Ilchman, “Toward a New Tintoretto Catalogue, with a Checklist of Revised Attributions and a New Chronology,” in Jacopo Tintoretto: Actas del congreso internacional/Proceedings of the International Symposium, Museo Nacional del Prado, Madrid, February 26–27, 2007 (Madrid, 2009), nos. Photo: Gabinetto Fotografico delle Gallerie degli Uffizi. The attribution of the Gallery’s painting to Lambert Sustris is based upon strong similarities in works by Lambert to the figure of Christ, the small figures of the apostles, and the landscape. 1]   [fig. . Among those scholars attributing the painting to Tintoretto, a number have seen a connection to El Greco, stressing the importance of the painting as an influence on the latter and noting how Tintoretto anticipated some of El Greco’s effects; see Georg Gronau’s manuscript opinion of April 28, 1935, transcribed in NGA curatorial files; Harold Wethey. [19]  [19]Another example is provided by the decoration of the Villa dei Vescovi at Luvigliano. [8]  [8]Among those scholars attributing the painting to Tintoretto, a number have seen a connection to El Greco, stressing the importance of the painting as an influence on the latter and noting how Tintoretto anticipated some of El Greco’s effects; see Georg Gronau’s manuscript opinion of April 28, 1935, transcribed in NGA curatorial files; Harold Wethey, El Greco and His School (Princeton, NJ, 1962), 1:90 n. 113; Denys Sutton, “Venetian Painting of the Golden Age,” Apollo 110 (1979): 386; Rodolfo Pallucchini and Paola Rossi, Tintoretto: Le opere sacre e profane (Venice, 1982), 1:179. The Sea of Galilee is like a large freshwater lake, being about 13 miles (21 km) long and having a maximum width of about 7 miles (12 km). which exemplify the Tintoretto studio ‘house style.’ Given its exceptionally high quality and the individuality of its style, an attribution to ‘studio of Tintoretto’ as an alternative to Sustris would not be appropriate in this case, and therefore we do not include it with the related works in the studio category.” Guillaume Cassegrain, Tintoret (Paris, 2010), 45, cited the painting as an example of the complexities involved in the Tintoretto catalog, arguing that it might represent either an “exercise in style” on the part of Tintoretto, a departure from his usual manner, or the work of a northern painter in Tintoretto’s studio, such as Sustris. 8, 9a, and 9b. Read our full Open Access policy for images. The little figures of the apostles in the boat are analogous to those who populate Lambert’s frescoed landscapes, and even closer to figures in his drawings, where the sketchily rendered faces frequently show the same hollow-eyed, skull-like appearance and summary treatment of the limbs. 3 (2011): 693–751. Nor has the attribution gone unquestioned. 3 (2011): 693–751. Lambert Sustris,” figs. 1853 Le Christ sur le lac de Génésareth. At dawn, Christ appeared at the shore and told them to cast their nets to the right side of the boat, where the catch would be plentiful. which exemplify the Tintoretto studio ‘house style.’ Given its exceptionally high quality and the individuality of its style, an attribution to ‘studio of Tintoretto’ as an alternative to Sustris would not be appropriate in this case, and therefore we do not include it with the related works in the studio category.” Guillaume Cassegrain, Tintoret (Paris, 2010), 45, cited the painting as an example of the complexities involved in the Tintoretto catalog, arguing that it might represent either an “exercise in style” on the part of Tintoretto, a departure from his usual manner, or the work of a northern painter in Tintoretto’s studio, such as Sustris. When Peter recognized Christ, he cast himself into the water to swim to the shore. The Sculpture Garden is now open from 11:00 a.m. to 4:00 p.m. daily. [2] There is no record of this painting in the extant Durlacher stockbooks at the Getty Research Institute, Los Angeles. Detlev von Hadeln (Berlin, 1914), 1:225. West Building For example, in a drawing depicting a Sacrifice to Priapus (Albertina, Vienna) [fig. [17]  [17]See Robert Echols, “Tintoretto, Christ at the Sea of Galilee, and the Unknown Later Career of Lambert Sustris,” Venezia Cinquecento 6, no. Miguel Falomir (Madrid, 2007), 139–158; Joyce Plesters, “Preliminary Observations on the Technique and Materials of Tintoretto,” in Conservation and Restoration of Pictorial Art, ed. (painter), Jacopo Tintoretto Hans Tietze, Tintoretto: The Paintings and Drawings (New York, 1948), 381 (and see also the manuscript opinion by Hans Tietze and Erika Tietze-Conrat quoted below, at note 5); Manolis Chatzidakis, “O Domenikos Theotokopoulos kai e kretiké zographiké,” Kretika Chronika 4 (1950): 371–440; see also Harold Wethey, El Greco and His School (Princeton, NJ, 1962), 1:90 n. 113, citing Chatzidakis. Christ on the Sea of Galilee – (Eugène Delacroix) Size of this image (MIME type: image/jpeg) 2454 x 2017 pixels. (London, 1966), 1: pl. In addition, the visual evidence provided by the three documented “Alberto” portraits of 1591 is consistent with what Lambert might be expected to have produced some four decades after his documented portraits, now working in a more Tintoretto-influenced mode. See Robert Echols, “Tintoretto, Christ at the Sea of Galilee, and the Unknown Later Career of Lambert Sustris,” Venezia Cinquecento 6, no. Although the structure of Tintoretto’s studio remains unclear, it seems likely that he had some associates who worked there relatively independently. 224. Closed. A composition particularly close to that in the Washington painting occurs in the background of a print after Lambert Lombard illustrating the Miracle of the Loaves and Fishes, dated 1555; see Robert Echols, “Tintoretto, Christ at the Sea of Galilee, and the Unknown Later Career of Lambert Sustris,” Venezia Cinquecento 6, no. Christ on the Sea of Galilee – (Eugène Delacroix) Previous Next . Giorgio Vasari’s 1568 Lives implies that Lambert was still alive but no longer in Venice, and his career is not usually discussed beyond this point. The attribution of the Gallery’s picture is based upon strong similarities in works by Sustris to the figure of Christ, the small figures of the apostles, and the landscape. In addition, the visual evidence provided by the three documented “Alberto” portraits of 1591 is consistent with what Lambert might be expected to have produced some four decades after his documented portraits, now working in a more Tintoretto-influenced mode. High quality Christ On The Sea Of Galilee gifts and merchandise. Bernard Aikema and Beverly Louise Brown (Milan, 1999), 133–143; Robert Echols and Frederick Ilchman, “Toward a New Tintoretto Catalogue, with a Checklist of Revised Attributions and a New Chronology,” in Jacopo Tintoretto: Actas del congreso internacional/Proceedings of the International Symposium, Museo Nacional del Prado, Madrid, February 26–27, 2007 (Madrid, 2009), 107–109. Robert Echols, “Tintoretto, Christ at the Sea of Galilee, and the Unknown Later Career of Lambert Sustris,” Venezia Cinquecento 6, no. Although cited by Fern Rusk Shapley, Catalogue of the Italian Paintings (Washington, DC, 1979), 1:645, and Terisio Pignatti, in Golden Century of Venetian Painting (Los Angeles, 1979), 106, as providing a comparison to the Gallery’s painting, the treatment is utterly different there: the sea is rendered with long, curving strokes of white representing the foam over a dark blue background. See Robert Echols, “Tintoretto, Christ at the Sea of Galilee, and the Unknown Later Career of Lambert Sustris,” Venezia Cinquecento 6, no. no. 15a, 15b, and 15c. 2]   [fig. 197; Echols and Ilchman, “Toward a New Tintoretto Catalogue,” no. Finden Sie perfekte Stock-Fotos zum Thema Christ At The Sea Of Galilee sowie redaktionelle Newsbilder von Getty Images. 1] Infrared reflectogram, Circle of Jacopo Tintoretto (Probably Lambert Sustris), Christ at the Sea of Galilee, c. 1570s, oil on canvas, National Gallery of Art, Washington, Samuel H. Kress Collection. Bert W. Meijer, “Flemish and Dutch Artists in Venetian Workshops: The Case of Jacopo Tintoretto,” in Renaissance Venice and the North: Crosscurrents in the Time of Dürer, Bellini and Titian, ed. One can say that Jesus during the Storm is the finest seascape of the French school." Provenance Exhibitions References. 14, identified by Vincenzo Mancini, Lambert Sustris a Padova: La Villa Bigolin a Selvazzano (Selvazzano Dentro, 1993), 47, fig. Gaetano Milanesi (Florence, 1906), 7:586. View in Augmented Reality. The attenuated figure of Christ, with his rectangular-shaped head, follows the mannerist conventions that Sustris frequently used in his early paintings. The first is a landscape, which does not appear to have progressed past the initial painted sketch. See Robert Echols, “Tintoretto, Christ at the Sea of Galilee, and the Unknown Later Career of Lambert Sustris,” Venezia Cinquecento 6, no. 33, 34, and 78. The Sea of Galilee is a vast freshwater expanse located in the Jordan Valley about 60 miles north of Jerusalem. They placed the picture in their “Circle of Tintoretto” checklist rather than considering it a studio work, stating, “Although it is possible that this picture was executed [by Sustris] in Tintoretto’s studio, it is far more distinctive than related works . They are particularly close to a compositional sketch for a Roman triumph (Gabinetto dei Disegni, Uffizi, Florence) [fig. 43 (as "Christ on the Sea of Galilee," 1853). Only Christ depicted on the right has remained calm. Collection of Jacob Jacobsz Hinloopen (1644-1705), a burgomaster and sheriff, Amsterdam by 1705. For other comparable figures, see 113 and figs. The support is formed of four irregularly sized pieces of similar, medium-weight, twill canvas that have been sewn together. This scene is based on an incident recounted in three Gospels of the New Testament: a furious storm breaks out while Jesus and his disciples sail across the Sea of Galilee to spread Christ's message. The artist illustrates this episode from the public life of Christ in which he calmed the waters of the Sea of Galilee. Open Access image. nos. ), framed: 155.3 x 207 cm (61 1/8 x 81 1/2 in. The bill of sale to the Kress Foundation for two paintings, dated 25 March 1943 and including Tintoretto's "Christ on Lake of Galilee," is on Moses & Singer letterhead and indicates that the sale is from "Mr. Arthur Sachs c/o Moses & Singer" (copy in NGA curatorial files). 2; and Rainald Grosshans, Maerten van Heemskerck: Die Gemälde (Berlin, 1980), cat. In the Washington picture, the sea is not a detail, but the subject of the painting.”[6]  [6]A prominent example of Tintoretto’s treatment of a stormy sea is provided by Saint Mark Rescues a Saracen (Gallerie dell’Accademia, Venice). 224; Terisio Pignatti, in Golden Century of Venetian Painting (Los Angeles, 1979), 106; Lionello Venturi, Pitture italiane in America (Milan, 1931), no. In addition, the visual evidence provided by the three documented “Alberto” portraits of 1591 is consistent with what Lambert might be expected to have produced some four decades after his documented portraits, now working in a more Tintoretto-influenced mode. . 3]   [fig. For example, Terisio Pignatti, in Golden Century of Venetian Painting (Los Angeles, 1979), 106. The Walters Art Museum Baltimore, United States. Robert Echols and Joanna Dunn based on the examination report by Paula De Cristofaro and the treatment report by Susanna Griswold. no. Delacroix treated this subject several times in 1853-54, and this series of canvases can be divided into two parts: those with rowboats and those with sailboats. Title: Christ in the Storm on the Sea of Galilee Creator: Rembrandt van Rijn Date Created: 1633 Physical Dimensions: w128 x h168 cm Provenance: Purchased from Colnaghi & Co. through Bernard Berenson, London, November 1898 for 6,000 pounds. As Gaskell noted in his commentary on the painting, Brueghel frequently repeated his compositions in the form of replicas. The story is recounted in the New Testament and is mentioned in three of the four Gospels. The Gallery’s picture has sometimes been seen as representing Christ walking on the water during a storm, and Peter about to attempt to follow his example, as told in Matthew 14:22–29. 10 and 14 in the same article. 224; Terisio Pignatti, in Golden Century of Venetian Painting (Los Angeles, 1979), 106; Lionello Venturi, Pitture italiane in America (Milan, 1931), no. Print. no. Here, as daylight begins to brighten the waves and sky, Peter extends his leg from the boat, about to jump. The entire composite has been lined to two pieces of plain-weave fabric. Isabella Stewart Gardner Museum theft, FBI 'Seeking Information' poster 2013, Rembrandt.jpg 2,394 × 2,994; 546 KB. In a lengthy written statement in NGA curatorial files, Tietze and Erika Tietze-Conrat argued convincingly that the essential invention, the figure types, the technique, and the coloring of the picture are alien to Tintoretto at every stage of his career. [11]  [11]Vincenzo Mancini, Lambert Sustris a Padova: La Villa Bigolin a Selvazzano (Selvazzano Dentro, 1993), 35–37; Bert W. Meijer, “Lambert Sustris in Padua: Fresco’s en tekeningen,” Oud Holland 107 (1993): 9–10. Include Christ at the Sea of Galilee is a self-portrait of the figure, especially close connections be. Created by the decoration of the boat, where the catch would plentiful... 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