Resurrection of Christ

CC0 Public Domain Designation

Painting and Sculpture of Europe

c. 1665

Samuel van Hoogstraten (Dutch, 1627-1678)

Status: On loan to Museum Het Rembrandthuis (Amsterdam, Netherlands) in Amsterdam for Rembrandt - Hoogstraten. Colour and Illusion
Department: Painting and Sculpture of Europe

Artist: Samuel van Hoogstraten
Title: Resurrection of Christ
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.: 1660–1670
Medium: Oil on canvas
Inscriptions: Inscribed bottom right of center: S.V.H.
Dimensions: 81 × 64.9 cm (31 7/8 × 25 1/2 in.); Framed: 100.1 × 84.8 × 8.6 cm (39 3/8 × 33 3/8 × 3 3/8 in.)
Credit Line: Sophia P. Morton Purchase Fund
Reference Number: 1969.110
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/31173/manifest.json

Art Institute of Chicago Annual Report 1968-1969 (1969): 14, 17.
Art Institute of Chicago, Rembrandt after Three Hundred Years: An Exhibtion of Rembrandt and His Followers, exh. cat. (Chicago: Art Institute, 1969), 74-75 car. 72, 133 (ill.).
Werner Sumowski, Gemälde der Rembrandt-Schüler vol. 2 (Landau/Pfalz: Edition PVA, 1983), 1293, no. 835, fig. 835.
Peter C. Sutton, A Guide to Dutch Art in America (Grand Rapids, Michigan: Netherlands-American Amity Trust, 1986), 50.
Peter Marijnissen, De Zichtbaere werelt: schilderkunst uit de Gouden Eeuw in Hollands oudste stad (Zwolle: Waanders, 1992), 25, 208, n1.
Michiel Roscam Abbing, De schilder & schrijver Samuel van Hoogstgraten 1627-1678: Eigentijdse bronnen & oeuvre van gesigneeerde schilderijen (Leiden: Primavera Pers, 1993), 141, fig. 42.
Celeste Brusati, Artifice and Illusion: The Art and Writing of Samuel van Hoogstraten (Chicago and London: University of Chicago Press, 1995), 356, no. 53.
Peter Black and Erma Hermens, “A Note on Samuel van Hoogstraten’s Christ and the Women of Jerusalem” Apprenticeship, Practice, Influence,” in Rembrandt Now: Technical Practice, Conservation and Research, Marika Spring and Ashok Roy, eds. (London: National Gallery with Archetype Publications, 2022), 99-100.
Stephanie Dickey, “Fragments of Evidence for Rembrandt’s Genoese Commission?,” in Not Always Rembrandt: 37 Studies in Baroque Art, Rudie van Leeuwen, Lilian Ruhe, and David de Witt, eds. (Turnhout: Brepols, 2023), 217n31.
Sabine Pénot, ed., Rembrandt - Hoogstraten. Colour and Illusion, exh. cat. (Vienna: Hannibal, 2024), 114–15 cat. 52, 118 (ill.), 262.
Nathalie Maciesza, Epco Runia, eds., Samuel van Hoogstraten: The Illusionist, exh. cat. (Zwolle: Wbooks, 2025), 88-89 fig. 79, 97 (ill.), 101–103, fig. 79a, 141.
David de Witt, “Samuel van Hoogstraten’s Drawings: History, Life, Universality. Method: Working from a Core Group,” in Samuel van Hoogstraten (1627-1678): Catalogue Raisonné, The Hague, 2025, accessed April 22, 2024,
Leonore van Sloten and David de Witt, “The Late Biblical Paintings,” in Samuel van Hoogstraten (1627-1678): Catalogue Raisonné, The Hague, 2025, no. 59, accessed April 22, 2024,

Art Institute of Chicago, Rembrandt after Three Hundred Years: An Exhibtion of Rembrandt and His Followers, Oct. 25-Dec. 7, 1969, cat. 72; Minneapolis Institute of Arts, Dec. 22, 1969-Feb. 1, 1970; Detroit Institute of Arts, Feb. 24-Apr. 5, 1970.
Vienna, Kunsthistorisches Museum, Rembrandt - Hoogstraten. Colour and Illusion, Oct. 8, 2024–Jan. 12, 2025, fig. 52; Amsterdam, Museum Rembrandthuis, The Illusionist. Samuel van Hoogstraten, Feb. 1–May 4, 2025, fig. 79.

Possibly Helena Lens, widow of merchant Willem Heyblom, Dordrecht by 1673 [see inventory of the collection of Helena Lens, Nov. 18, 1673, Getty Archival Document N-1483]. Possibly transferred by her to Abraham and Franchois Heyblom in payment of a debt [see document cited above]. Mrs. J. Piper, England; sold Sotheby’s, London, Nov. 13, 1968, lot 66 to Julius Weitzner [letter dated May 10, 2000, from Camilla Harris, Sotheby’s, to Martha Wolff in curatorial file]; sold to the Art Institute, 1969.

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On loan to Museum Het Rembrandthuis (Amsterdam, Netherlands) in Amsterdam for Rembrandt - Hoogstraten. Colour and Illusion

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Artist

Title

Place

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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Inscriptions

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On loan to Museum Het Rembrandthuis (Amsterdam, Netherlands) in Amsterdam for Rembrandt - Hoogstraten. Colour and Illusion

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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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Inscriptions

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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.