7В Finally, he said to his disciples, вЂњLetвЂ™s go back to Judea.вЂќДЁВ But his disciples objected. No, it happened for the glory of God so that the Son of God will receive glory from this.вЂќ 5В So although Jesus loved Martha, Mary, and Lazarus, 6В he stayed where he was for the next two days. 3В So the two sisters sent a message to Jesus telling him, вЂњLord, your dear friend is very sick.вЂќД¤В But when Jesus heard about it he said, вЂњLazarusвЂ™s sickness will not end in death. 2В This is the Mary who later poured the expensive perfume on the LordвЂ™s feet and wiped them with her hair. He lived in Bethany with his sisters, Mary and Martha.

The Anatomy Lesson of Dr.11В A man named Lazarus was sick.

Abraham Serving the Three Angels (1646).

Landscape with the Good SamaritanВ (1638).

The Archangel Raphael Leaving Tobias' Family (1637).

Samson Threatening His Father-In-LawВ (1635).Pendant portraits of Maerten Soolmans and Oopjen CoppitВ (1634).Diana Bathing with her Nymphs with Actaeon and CallistoВ (1634).The Storm on the Sea of GalileeВ (1633) 2.Bust of a Man Wearing a Gorget and Plumed BeretВ (1626).Suffer little children to come unto meВ (1620s).Rembrandt made drawings and etchings on the same theme. in 1959 and then donated to the LA County Museum of Art. The painting passed through various owners in Europe until it was bought by Howard F. It was inventoried as being hung in RembrandtвЂ™s anteroom. Raising of Lazarus was owned by Rembrandt for most of his life it was sold in his bankruptcy sale in 1656. The placement of the figures is similar and a study of drawings indicates that the latter was developed from the former. Rembrandt would most closely imitate Raising of Lazarus with his 1635/1639 painting The Resurrection. The composition of the painting may derive from a drawing by Rembrandt from the same time as the Burial of Christ. Lievens and Rembrandt were friends and probably worked together. (Sister Wendy Beckett opines that Jesus is portrayed in this work as a weary magician rather than a triumphant savior.) The subject of this painting may draw on an undated Jan Lievens etching of the same name. The 1642 etching also depicts Christ as more of a healer, rather than the enchanter of this work. The 1632 etching shows a different point of view while the 1642 etching shows different figures in the cave. Rembrandt made two etchings on the same subject but with differing compositions, one in approximately 1632 and another in 1642 (see gallery below). Rembrandt painted The Raising of Lazarus early in his career, while he was still in Leiden, and not long after his apprenticeship under Pieter Lastman, whose influence is clear.

This is one of relatively few religious subjects from the New Testament that Rembrandt painted, though there are many such prints. Rembrandt used chiaroscuro (contrasts of light and dark) in this painting, with the dark interior of the burial cave and the limited torchlight focusing the attention of the viewer and giving the figures impact. The painting depicts a parable of spiritual life, the miracle of the hardened sinner receiving first grace (sorrow for sins committed in order to seek penitence and redemption). Mary and those assembled look on in amazement as Lazarus comes to life. Lazarus is in the darker half of the painting while the figures at left are far more illuminated than he. The painting shows the moment Lazarus re-awakens from death and rises from his tomb as Christ calls him.

Raising of lazarus