See Robert Echols, “Tintoretto, Christ at the Sea of Galilee, and the Unknown Later Career of Lambert Sustris,” Venezia Cinquecento 6, no. 3 (2011): 693–751. Christ, who is seated at the stern, is awoken and appears to admonish the disciples just as he is about to command the storm to stop. Tabgha, on the shores of the Sea of Galilee, is famous as the location for the feeding of the five thousand. 2 Nazareth. 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. © 2021 National Gallery of Art Notices Terms of Use Privacy Policy, Tancred Borenius, “A Seascape by Tintoretto,”, As Hans Tietze and Erika Tietze-Conrat wrote, in Tintoretto’s figure’s one can always “discern a drawing which explains everything. 411; Erich von der Bercken, Die Gemälde des Jacopo Tintoretto (Munich, 1942), 88, 118; Pierluigi De Vecchi, L’opera completa del Tintoretto (Milan, 1970), 133, no. 12 (1996): 126, fig. 2] [fig. The disjunction between the vigor of the landscape and the sketchy and attenuated figure of Christ, apparently unfinished in some passages, contributes to a mystical, almost hallucinatory effect that has been compared to some of Jacopo Tintoretto’s great paintings at the Scuola Grande di San Rocco. . ), framed: 155.3 x 207 cm (61 1/8 x 81 1/2 in. [fig. Robert Echols, “Tintoretto, Christ at the Sea of Galilee, and the Unknown Later Career of Lambert Sustris,” Venezia Cinquecento 6, no. Inspired designs on t-shirts, posters, stickers, home decor, and more by independent artists and designers from around the world. Tourism around the Sea of Galilee is an important economic branch. They are particularly close to a compositional sketch for a Roman triumph (Gabinetto dei Disegni, Uffizi, Florence) [fig. . 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. 12 (1996): 110–113, 124–137; 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. THE mysterious swarm of earthquakes beneath the Sea of Galilee was prophesied in the New Testament for the return of Jesus Christ, according to a biblical author. The mast of the ship points toward two corners of the painting. 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). no. 1] [fig. to the latter category. Rembrandt’s “Christ in the Storm on the Sea of Galilee” August 8th 2020 “Christ in the storm on the Sea of Galilee”, 1633, Rembrandt van Rijn (1606 -69), Isabella Stewart Gardener Museum, Boston (Stolen in 1990 and still missing) You can see this picture … Christ at the Sea of Galilee was created by artist Jacopo Tintoretto (Robusti). Capernaum is located on the north side. A copy of August L. Mayer’s manuscript opinion of 1925 is in NGA curatorial files. 14 Nazareth. . It is this miracle that Rembrandt depicts. Another church nearby marks the spot of Christ’s fourth resurrection appearance. See also Echols, “Tintoretto, Christ at the Sea of Galilee, and . On Lambert Sustris as “Albert d’Ollanda,” see Arthur Peltzer, “Chi è il pittore ‘Alberto de Ollanda,’” Arte Veneta 4 (1950): 118–122; see also Bert W. Meijer, in Venezia da stato a mito (Venice, 1997), 134–135. 2] Lambert Sustris, Sacrifice to Priapus, 1540s, ink and wash on paper, The Albertina Museum, Vienna. 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. 1] Infrared reflectogram, Circle of Jacopo Tintoretto (Probably Lambert Sustris). Date: 1853. (Sustris signed paintings as Alberto earlier in his career, and he is identified by the name in at least two documents. Delacroix 1853. The sea of Galilee plays an enormous role in the story of Christ many times. Gaetano Milanesi (Florence, 1906), 7:586. Fish are plentiful. 16 (detail); and Walter S. Gibson, Mirror of the Earth: The World Landscape in Sixteenth-Century Flemish Painting (Princeton, NJ, 1989), 33, fig. 1), especially in the treatment of the receding shoreline, the swaths of yellow and green defining the hills in the middle distance, the tree stump, the puffy clouds, and even the boat itself. C90, reaffirmed the Sustris attribution. Although the attribution cannot be confirmed with certainty, this work was probably created by the Amsterdam-born painter Lambert Sustris. 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. 8, 9a, and 9b. Stolen in 1990. 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. TIME. On his final evening with the apostles, Jesus had told them: “After I have been raised up, I will go ahead of you into Galilee.”. In 1948, Hans Tietze gave the picture to El Greco, a conclusion reached by Manolis Chatzidakis in 1950 as well. It is doubtless to this work that the artist was alluding when he noted, May 29, 1854: "Worked a little on the Christ on the Sea of Galilee: impression of sublimeness and light". The high quality of Christ at the Sea of Galilee has always been recognized. 156. The following pigments have been identified: azurite, smalt, red lake, vermilion, red lead, lead tin yellow, orpiment, green earth, iron earths, umber, lead white, and lamp black (possible, in sketch for underlying portrait, see below). nos. 159 and 172. Circle of Jacopo Tintoretto (Probably Lambert Sustris), overall: 117.1 x 169.2 cm (46 1/8 x 66 5/8 in. All orders are custom made and most ship worldwide within 24 hours. About the Map. Lambert Sustris may well have been one of them. The forms were outlined first in dry white paint. 14, identified by Vincenzo Mancini, Lambert Sustris a Padova: La Villa Bigolin a Selvazzano (Selvazzano Dentro, 1993), 47, fig. See Robert Echols, “Tintoretto, Christ at the Sea of Galilee, and the Unknown Later Career of Lambert Sustris,” Venezia Cinquecento 6, no. 18. 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. You may download complete editions of this catalog from the catalog’s home page. His paintings there show him to be extremely versatile, moving comfortably back and forth between the conventions of central Italian mannerism, Titian (in whose studio he is reported to have worked), and northern literalism. 12 (1996): figs. (canvas) approximately 34-1/2 x 39-1/2 x 3 in. See Robert Echols, “Tintoretto, Christ at the Sea of Galilee, and the Unknown Later Career of Lambert Sustris,” Venezia Cinquecento 6, no. On top of this is a portrait of a man, of which the initial sketch can be seen clearly with infrared reflectography at 1.5 to 1.8 microns [fig. (London, 1966), 1: pl. Painting of Jesus walking on water. 1) by Sustris. Dimensions: 18 3/4 x 22 7/8 inches (47.6 x 58.1 cm) Framed: 25 1/4 x 29 5/8 x 3 inches (64.1 x 75.2 x 7.6 cm) Curatorial Department: European Painting. . Venetian, 1518 or 1519 - 1594, Lambert Sustris [23] [23]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. 3] [fig. 224. 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 . But it is not shallow. Why would Christ desire to go to Galilee rather than remain in Jerusalem? Gaetano Milanesi (Florence, 1906), 7:586 ‘Christ In The Storm On The Sea Of Galilee,’ By Rembrandt Van Rijn September 15, 2018 Rembrandt van Rijn's "Christ In The Storm On The Sea Of Galilee," painted in 1633. Robert Echols, “Anonymous Artist, Jacopo Tintoretto, Lambert Sustris/Christ at the Sea of Galilee/c. The Storm on the Sea of Galilee is a painting from 1633 by the Dutch Golden Age painter Rembrandt van Rijn that was in the Isabella Stewart Gardner Museum of Boston, Massachusetts, United States, prior to being stolen in 1990. Nevertheless, the painting is so fundamentally different from Tintoretto’s art that it can be removed from his autograph oeuvre without hesitation. The Storm on the Sea of Galilee - 1633. by Rembrandt. Robert Echols and Joanna Dunn based on the examination report by Paula De Cristofaro and the treatment report by Susanna Griswold. Photo: Gabinetto Fotografico delle Gallerie degli Uffizi. 8 The Jordan River. Wellcome V0034903.jpg 2,361 × 3,023; 1.95 MB Isabella Stewart Gardner Museum theft, FBI 'Seeking Information' poster 2013, Rembrandt.jpg 2,394 × 2,994; 546 KB 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. A copy of August L. Mayer’s manuscript opinion of 1925 is in NGA curatorial files. Explore {{searchView.params.phrase}} by color family {{familyColorButtonText(colorFamily.name)}} jesus teaching on the sea shore - christ at the sea of galilee stock illustrations . 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. Early in the morning of March 18, 1990, two thieves disguised as police officers robbed the museum of thirteen works worth some $500 million - the greatest known property theft in history. Provenance Exhibitions References. Note: Exhibition history, provenance, and bibliography are subject to change as new information becomes available. Closed, Sculpture Garden 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. Tintoretto is … 12 (1996): 121, fig. File:Backhuysen, Ludolf - Christ in the Storm on the Sea of Galilee - 1695.jpg; File usage on other wikis. Moreover, in Tintoretto’s paintings, to quote the Tietzes, water is never “in itself an independent means of expression. 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). 12 (1996): 94. Christ in the Storm on the Sea of Galilee, Ludolf Backhuysen I (Dutch, 1630-1708), 1695, oil on canvas, 23 x 28-1/2 in. While early ascriptions of this latter subject to the present painting may have been based on the fact that it appears to show Christ with one foot on the surface of the water, Anna Pallucchini, followed by Pallucchini and Rossi, insisted on the stormy water as the defining element. When Peter saw Christ, he jumped into the water to swim to shore. The marine element is of prime importance here and we can see in it reflections of the observations made by Delacroix during his seaside visits to Dieppe in 1851, 1852, and 1854. In the 1540s he was active as a painter of fresco cycles decorating palaces and villas on the Venetian terraferma, and he seems to have played a role in developing the characteristic domestic decoration style there, especially its landscape components, which combine the Roman antiquarian landscapes of Polidoro da Caravaggio with elements of northern panorama and Venetian pastoral lyricism [fig. 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