À propos de l’œuvre
La Résurrection de Lazare, par Vincent van Gogh
Vincent van Gogh · May 1890 · Saint-Rémy-de-Provence, France
The Resurrection of Lazarus, after RembrandtReproduction of oil painting on canvas
Van Gogh tightens an engraving by Rembrandt around Lazarus and the two women kneeling near the tomb. He removes the figure of Christ and replaces the darkness of the cave with a vast sun rising above the wheat.
Look at the work
Lazarus returns to the light of a huge sun
Lazarus, still wrapped in his shroud, stands up on the left. Two women lean towards him: one wears a green dress, the other a dark garment striped with colors. Their gestures lead the gaze towards the red face of the resurrected one.
In the background, Rembrandt's tomb becomes a Provençal landscape. A yellow solar disk dominates the hills and a field of blond wheat; the cold blues of the foreground respond to the warm ochres and yellows of the horizon.
By removing Christ from the composition, Van Gogh shifts the center of the miracle: he no longer shows the one who commands the resurrection, but the suffering being who returns to life.
Composition, touch and color
Three observations specific to this painting
The Van Gogh Museum preserves this interpretation under inventory s0169V1962. Painted on paper then mounted, it bears the references F677/JH1972.
A fragment of Rembrandt
Van Gogh takes only part of the etching The Resurrection of Lazarus. Christ and the crowd disappear; Lazarus and the two women now fill almost the entire foreground.
The sun replaces the tomb
The large yellow disc does not exist in the model. It opens the cave onto a luminous field and contrasts the rebirth of nature with the pale blues of the body still marked by death.
Three familiar faces
The museum identifies the two women as Madame Roulin, in green, and Madame Ginoux, in striped dress. Lazarus' red beard has often been understood as a connection with Van Gogh himself.
Documented benchmarks
Precisely identify the original work
The Resurrection of Lazarus, according to Rembrandt, is an oil on paper measuring 50 × 65.5 cm, produced in Saint-Rémy in May 1890. The work is identified by s0169V1962, F677 and JH1972.
A cropped Rembrandt etching
Van Gogh worked from a printed reproduction. He preserved Lazarus and the women of the tomb, but voluntarily pushed aside Christ with the raised arm who dominated the original image.
A contrast now attenuated
The Van Gogh Museum specifies that several pigments have discolored significantly. The initial gap between the warm tones of the background and the cold colors of Lazarus was therefore more marked.
The Vincent van Gogh Foundation
Remaining in the artist's family after his death, the work was transferred in 1962 to the Vincent van Gogh Foundation and belongs to the permanent fund of the Amsterdam Museum.
Your reproduction
What the painter must preserve
The copy must preserve the pale design of the body, the chromatic identities of the two women, the circular sun and the subtle transition between the blue of the tomb and the yellow wheat.
- Lazarus' red face and pale blue shroud
- The green and striped dresses of the two women
- The yellow solar disk in the center of the landscape
- The long, clear touches of the wheat field
Work sheet
| Title | The Resurrection of Lazarus, after Rembrandt |
|---|---|
| Artist | Vincent van Gogh (1853 -1890) |
| Date | May 1890 |
| Place of creation | Saint-Rémy-de-Provence, France |
| Original technique | Oil on paper |
| Dimensions | 50 × 65.5 cm |
| Inventory | s0169V1962· F677· JH1972 |
| Conservation | Van Gogh Museum, Amsterdam |
| Your reproduction | Handmade oil painting on canvas |
From order to shipping
In your interior
A scene of rebirth between cold blue and golden light
The gray blues of the foreground and the solar yellow form a harmony that is both meditative and luminous. The horizontal format is suitable for a quiet living room, a library or a space for contemplation.
Frequently asked questions
Before ordering
Is this a canvas print?
No. Each reproduction is manually painted in oil on canvas. Brushstrokes and material variations belong to the final result.
How is the visual reference chosen?
The documentary image of 7,336 × 5,611 px was converted into a real WebP of 3,000 × 2,295 px, without artificial enlargement.
Can I check the result before shipping?
Yes. Photographs of the finished painting are sent to you; you can request alterations before validating the shipment.
Are custom formats possible?
Yes. The format can be adapted to your wall while maintaining the proportions and balance of the original composition.
