The Resurrection

Painting and Sculpture of Europe

c. 1635

Bartholomeus Breenbergh (Dutch, 1598–1657)

As Jesus rises in triumphant Resurrection, the Roman soldier guarding the tomb at the lower right, seems, at first glance, to respond in awestruck ecstasy. He and his fellow guards, however, remain deeply asleep, ignorant to the divine event.

The soldier’s discarded helmet was inspired by a wellknown design by 16th-century Italian armorer Filippo Negroli; it can also be seen in paintings by artists like Bartholomeus Breenbergh’s teacher, Pieter Lastman. Many artists appreciated such pieces of Negroli armor for their fantastical, animalistic designs that reference classical ornament, and often collected them as studio props for use in history scenes.

Status: Currently Off View
Department: Painting and Sculpture of Europe

Artist: Bartholomeus Breenbergh
Title: The Resurrection
Place: Holland (Artist's nationality:)
Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.: 1630–1640
Medium: Oil on panel
Inscriptions: Inscribed with monogram, bottom center
Dimensions: 35.5 × 20.7 cm (14 × 8 1/8 in.); Framed: 50.8 × 36.4 × 6.4 cm (20 × 14 3/8 × 2 1/2 in.)
Credit Line: Louise B. and Frank H. Woods Purchase Fund
Reference Number: 1967.596
IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.: https://api.artic.edu/api/v1/artworks/28173/manifest.json

Art Institute of Chicago, Annual Report 1967-68, (Chicago, 1968) pp. 16, 20 (ill. p. 18)
John Maxon, The Art Institute of Chicago (London, 1970), pp. 259 ill., 278.
Marcel Roethlisberger, Bartholomeus Breenbergh, The Paintings (Berlin and New York, 1981), p. 73, no. 180, fig. 180.
Marcel Roethlisberger “New Works by Bartholomeus Breenbergh,” Oud Holland 99 (1985), pp. 59.
Peter C. Sutton, A Guide to Dutch Art in America (Grand Rapids, Michigan, 1986), p. 65.
Jacques Foucart, “Le sacrifice d’Elie au Mont Carmel par Bartholomeus Breenbergh (1637),” Bulletin des Musées et Monuments Lyonnais (1991: 5–4), p. 47.
Marcel George Roethlisberger, Bartholomeus Breenbergh, exh. cat., Richard L. Feigen and Company, New York and London, 1991, p. 40, under no. 15.
Walter J. Karcheski, “Ruben’s Lost Negroli Helmet Painted by Bartholomeus Breenbergh and Others.” Apollo 153, no. 467 (2001), pp. 28–33, figs. 1 and 2.
Eric Jan Sluijter, Rembrandt’s Rivals: History Painting in Amsterdam 1630-1650, Amsterdam, 2015, pp. 278, 437, fig. V-11.

Julius H. Weitzner, London, owned jointly with Michael Asscher, by 1967 [according to letter of 21 May 1967 from Weitzner to Charles Cunningham in curatorial file]; sold to the Art Institute, 1967.

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Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

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IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.

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IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world.

Learn more.